DOCSLIB.ORG

ORALITY and SOUTHERN LITERATURE by CLAY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ORALITY and SOUTHERN LITERATURE by CLAY ORALITY AND SOUTHERN LITERATURE by CLAY ALLEN MORTON (Under the Direction of Hubert McAlexander) ABSTRACT For most if not all of its history, the South has been marked by a high degree of oral residue that has distinguished it from the rest of the United States. This study explores the influence of residual orality on Southern literature. The first chapter provides the historical background necessary to gauge the South’s resistance to the transformative powers of typographic literacy. Education, reading habits, publishing, and the literary life are discussed. Chapter Two synthesizes research on oral language with stylistic analyses of Southern literary works, specifically James Weldon Johnson’s God’s Trombones (1927) and Eudora Welty’s The Ponder Heart (1954), in order to illustrate the oral bent of Southern writing. Next, two well-known short stories, William Gilmore Simms’s “Sharp Snaffles” (1870) and William Faulkner’s “A Rose for Emily” (1930) are shown to be characterized by the strategies of folk narrative. While “Sharp Snaffles” corresponds to a well-documented and ancient oral narrative pattern, “A Rose for Emily” is an essentially typographic work that is organized according to an oral storytelling structure. Finally, the characteristically oral modes of thought and expression cataloged by Walter J. Ong are compared to certain well-known theories of Southern exceptionalism, especially those outlined in the Southern Agrarian manifesto I’ll Take My Stand (1930) and Zora Neale Hurston’s “Characteristics of Negro Expression” (1934). These oral Southern epistemologies are shown to be significant to Hurston’s classic novel Their Eyes Were Watching God (1937) and to the poetry of Donald Davidson. These discussions provide not only a new theory of Southern exceptionalism, but also a new theoretical framework for reading Southern texts. INDEX WORDS: American literature, Southern literature, orality, William Faulkner, Eudora Welty, James Weldon Johnson, William Gilmore Simms, Donald Davidson, Zora Neale Hurston ORALITY AND SOUTHERN LITERATURE by CLAY ALLEN MORTON B.A., University of South Carolina Aiken, 1997 M.A., University of Georgia, 2000 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2005 © 2005 Clay Allen Morton All Rights Reserved ORALITY AND SOUTHERN LITERATURE by CLAY ALLEN MORTON Major Professor: Hubert McAlexander Committee: Richard Menke Hugh Ruppersburg Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2005 DEDICATION For Gail and Jake iv ACKNOWLEDGEMENTS Grateful acknowledgment is made to my committee members. Hubert McAlexander and Richard Menke worked with me on this project from its inception, and their insight and encouragement have been invaluable. Hugh Ruppersburg was extremely gracious in stepping in at the last minute to round out the committee. Other faculty members whose generous assistance helped shape sections of this dissertation include Valerie Babb, James Kibler, Michael Moran, and Carl Rapp. I am also grateful to the University of Georgia Graduate School, which supported my work on this project in the form of a Dissertation Completion Assistantship for academic year 2004-05. v TABLE OF CONTENTS Page ACKNOWLEDGEMENTS .........................................................................v LIST OF FIGURES ...............................................................................viii INTRODUCTION .................................................................................... 1 CHAPTER 1 THE ORAL CHARACTER OF SOUTHERN CULTURE............... 22 Literacy and Education ...................................................... 26 Writing and Publishing....................................................... 44 2 TOWARD A POETICS OF SOUTHERN ORALITY ..................... 73 James Weldon Johnson’s God’s Trombones ........................ 76 Eudora Welty’s The Ponder Heart........................................ 95 3 ORALITY AND SOUTHERN NARRATIVE: PATTERN AND STRUCTURE .................................................................... 108 Pattern: Simms’s “Sharp Snaffles” .................................... 112 Structure: Faulkner’s “A Rose for Emily” .......................... 128 4 SOUTHERN EPISTEMOLOGY AND THE PSYCHODYNAMICS OF ORALITY..................................................................... 153 What Once Was Sung: Donald Davidson .......................... 162 Making the Dream the Truth: Zora Neale Hurston ............ 186 vi CODA ................................................................................................ 204 BIBLIOGRAPHY ................................................................................. 214 vii LIST OF FIGURES Page Figure 1: The Honey-Trickster Pattern ............................................... 120 Figure 2: The Narrative Structure of “A Rose for Emily”...................... 139 viii INTRODUCTION The oral tradition of the South is a world in which past and present concert in a babble of chat and memories and observation and complicated kinship relations. An oral world keeps multiple blood relationships in easy acoustic focus in the same way as a pre-literate people have no trouble in managing complex word formations and inflections. The author of Tom Sawyer and Huck Finn stays in the heart of this oral world . —Marshall McLuhan (Essential 198) Tennessee Williams’s The Glass Menagerie (1945) revolves around the Wingfields, a white Mississippi-Delta family transplanted to St. Louis where they grapple with the disappointments and hardships of the Great Depression. Although the connection has garnered little attention, it is not difficult to read the play against the backdrop of the revolution in communications technology that took place between the transcontinental telegraph of the 1860s and the television explosion of the 1950s. The family’s patriarch, “a telephone man who fell in love with long distances” (5-6), abandons his wife and children for a life of independence and adventure, sending them nothing but a picture postcard from Mazatlan. The only two words written on it, “Hello—Good-bye!” (6) are “telephone words” which became common in American English only with the advent of the medium: previously, the former had been an expression of surprise rather than a greeting, and the latter had been too high-toned for casual conversation (Barron 26). This fact, in addition to Wingfield’s profession and love of “long distance,” suggests that the three central characters of 1 the play have been abandoned not only by a roguish husband and father but by the modern technologies of information with which he is associated. In the absence of the stability of the traditional two-parent home, the remaining Wingfields struggle to make ends meet and find personal fulfillment. Amanda, the jilted wife, earns money by means of the technology that provided her faithless husband’s vocation: a kind of prototype telemarketer, she sells subscriptions to a women’s magazine over the phone by salaciously describing serialized romances. A more degrading occupation would be difficult to imagine. The physically disabled daughter Laura briefly attends business college to learn the typewriter, but this textual device is so foreign to her mind and body that the experience makes her violently ill. And the son Tom works at a shoe manufacturer’s warehouse where he is similarly sickened by the “celotex interior” and “fluorescent—tubes” (27). Yet it is to electric media that both junior Wingfields constantly retreat for escape from the painful reality of their lives: Laura to the soothing melodies of her Victrola gramophone, and Tom to the adventure of the cinema. Both of these sanctuaries, however, prove illusory and hollow. Amanda’s own haven from an intolerable existence is not technological but rather comes in the form of the oldest medium of all, oral storytelling. Throughout the play, the dehumanizing techno-culture of 1930s St. Louis is contrasted with the idyllic South of her girlhood 2 memories. While the industrial city is a place of isolating technologies such as film and recorded sound, media that reproduce performances for audiences to receive passively and not participate in, the Blue Mountain of her stories is communal and affirming. When Tom asks his mother how she entertained the scores of gentlemen callers she would receive on Sunday afternoons, Amanda’s reply depicts the South in terms of the social folkways of oral culture: I understood the art of conversation! . Girls in those days knew how to talk, I can tell you. They knew how to entertain their gentlemen callers. It wasn’t enough for a girl to be possessed of a pretty face and a graceful figure— although I wasn’t slighted in either respect. She also needed to have a nimble wit and a tongue to meet all occasions. (9) Because her suitors were all “planters and sons of planters” (10), Amanda assumed that she would marry such a person and live out her life in this halcyon agrarian setting. “But,” she tells Laura’s own gentleman caller, Jim O’Connor, later in the play, “man proposes—and woman accepts the proposal!—To vary that old, old saying a little bit—I married no planter! I married a man who worked for the telephone company! . A telephone man who—fell in love with long-distance!— Now he travels and I don’t know where!—” (80). In the South there was a system of orality in place which, in addition to supplying formulaic
Load more

Recommended publications
  • Orality in Writing: Its Cultural and Political Function in Anglophone African, African-Caribbean, and African-Canadian Poetry
    ORALITY IN WRITING: ITS CULTURAL AND POLITICAL FUNCTION IN ANGLOPHONE AFRICAN, AFRICAN-CARIBBEAN, AND AFRICAN-CANADIAN POETRY A Thesis submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of English University of Saskatchewan Saskatoon By Yaw Adu-Gyamfi Spring 1999 © Copyright Yaw Adu-Gyamfi, 1999. All rights reserved. National Ubrary Bib!iotheque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON K1 A ON4 Canada Canada Your file Vol", ,eferet1C8 Our file Not,e ,life,encs The author has granted a non­ L' auteur a accorde une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format electronique. The author retains ownership of the L' auteur conserve la propriete du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis nor substantial extracts from it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent etre imprimes reproduced without the author's ou autrement reproduits sans son permISSlOn. autorisation. 0-612-37868-3 Canada UNIVERSITY OF SASKATCHEWAN College of Graduate Studies and Research SUMMARY OF DISSERTATION Submitted in Partial Fulfillment of the Requirements for the DEGREE OF DOCTOR OF PHILOSOPHY by Yaw Adu-Gyamfi Department of English Spring 1999 -EXAMINING COMMITTEE: Dr.
    [Show full text]
  • Pleasure and Reality in Edith Wharton's the Fulness Of
    Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930 PLEASURE AND REALITY IN EDITH WHARTON’S THE FULNESS OF LIFE Mr. V. R. YASU BHARATHI, Ph.D Research Scholar (Full-Time), P.G & Research Department of English, V.O. Chidambaram College, Thoothukudi – 628008. Affiliated to Manonmaniam Sundaranar University, Tirunelveli Dr. V. CHANTHIRAMATHI, Research Guide, P.G & Research Department of English, V.O. Chidambaram College, Thoothukudi – 628008 Affiliated to Manonmaniam Sundaranar University, Tirunelveli ABSTRACT: This paper focuses on the psychological aspects in the short story of Edith Wharton’s The Fulness of Life. The revelation of the unnamed lifeless woman about her past life to her own spirit is the plot of The Fulness of Life. This paper analyses how the author’s Id, Sigmund Freud’s pleasure principle, is revealed through the protagonist of the story. This paper attempts to explore the pleasures expected by the unnamed lady and the reality she had to face. This paper follows MLA Eighth Edition for Research Methodology. Key Words- Edith Wharton, Short-Story, Freud’s Psychology, id and ego, expectation and reality. ----------------------------- Literature is considered as reflection of life. It also speaks about many segments and dimensions found among human being. The writer, work background and the purpose of work are to be known to analyze each and every character and circumstances found in the works. Psychology is one such background interrelated by the authors to achieve their intense purpose of writing. In literature there are many forms of writing, classified mainly as poetry, drama and prose. Short story, in this classification, comes under prose.
    [Show full text]
  • English 10 Mr. Gunnar a Worn Path by Eudora Welty
    English 10 Mr. Gunnar A Worn Path by Eudora Welty It was December—a bright frozen day in the early morning. Far out in the country there was an old Negro woman with her head tied in a red rag, coming along a path through the pinewoods. Her name was Phoenix Jackson. She was very old and small and she walked slowly in the dark pine shadows, moving a little from side to side in her steps, with the balanced heaviness and lightness of a pendulum in a grandfather clock. She carried a thin, small cane made from an umbrella, and with this she kept tapping the frozen earth in front of her. This made a grave and persistent noise in the still air, that seemed meditative like the chirping of a solitary little bird. She wore a dark striped dress reaching down to her shoe tops, and an equally long apron of bleached sugar sacks, with a full pocket: all neat and tidy, but every time she took a step she might have fallen over her shoelaces, which dragged from her unlaced shoes. She looked straight ahead. Her eyes were blue with age. Her skin had a pattern all its own of numberless branching wrinkles and as though a whole little tree stood in the middle of her forehead, but a golden color ran underneath, and the two knobs of her cheeks were illumined by a yellow burning under the dark. Under the red rag her hair came down on her neck in the frailest of ringlets, still black, and with an odor like copper.
    [Show full text]
  • Towards a Double-Faced Approach to Teaching Black Literature in Secondary English Classrooms
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Theory and Practice in Teacher Education Publications and Other Works Theory and Practice in Teacher Education 3-6-2017 Flipping the Coin: Towards a Double-Faced Approach to Teaching Black Literature in Secondary English Classrooms Vincent Ray Price [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_theopubs Part of the African American Studies Commons, Bilingual, Multilingual, and Multicultural Education Commons, Curriculum and Instruction Commons, Secondary Education Commons, and the Secondary Education and Teaching Commons Recommended Citation Price, Vincent Ray, "Flipping the Coin: Towards a Double-Faced Approach to Teaching Black Literature in Secondary English Classrooms" (2017). Theory and Practice in Teacher Education Publications and Other Works. https://trace.tennessee.edu/utk_theopubs/18 This Article is brought to you for free and open access by the Theory and Practice in Teacher Education at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Theory and Practice in Teacher Education Publications and Other Works by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. 1 Flipping the Coin: Towards a Double-Faced Approach to Teaching Black Literature in Secondary English Classrooms Vincent Price Department of Theory and Practice in Teacher Education, University of Tennessee, Knoxville, TN, USA 2 Flipping the Coin: Towards a Double-Faced Approach to Teaching Black Literature in Secondary English Classrooms Critiquing two approaches that English teachers use to teach Black, or African-American, literature in the secondary classroom—one that centralizes races and the other that ignores it—this article proposes a hybrid approach that combines both.
    [Show full text]
  • Building Order on Beacon Hill, 1790-1850
    BUILDING ORDER ON BEACON HILL, 1790-1850 by Jeffrey Eugene Klee A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Spring 2016 © 2016 Jeffrey Eugene Klee All Rights Reserved ProQuest Number: 10157856 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 10157856 Published by ProQuest LLC (2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 BUILDING ORDER ON BEACON HILL, 1790-1850 by Jeffrey Eugene Klee Approved: __________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
    [Show full text]
  • Where Now the Harp? Listening for the Sounds of Old English Verse, from Beowulf to the Twentieth Century
    Oral Tradition, 24/2 (2009): 485-502 Where Now the Harp? Listening for the Sounds of Old English Verse, from Beowulf to the Twentieth Century Chris Jones nis þær hearpan sweg, / gomen in geardum, swylce ðær iu wæron (2458b-59)1 There is no sound of the harp, delight in courts, as there once were The way to learn the music of verse is to listen to it. (Pound 1951:56) Even within an advanced print culture, poetry arguably never escapes the oral dimension. For Ezra Pound, whose highly intertextual epic The Cantos, so conscious of its page appearance, could only be the product of such a print culture, poetry was nevertheless “an art of pure sound,” the future of which in English was to be the “orchestration” of different European systems of sound-patterning (Pound 1973:33). Verbal orchestration is meaningless without auditors; it goes without saying that the notion of oral literature simultaneously implies the concept of aural literature. This much is also evident from the very beginning of Beowulf: Hwæt, we Gar-Dena in geardagum, / þeodcyninga þrym gefrunon . (“Listen, we have heard of the Spear-Danes in times past, of the glory of the people’s kings . ,” lines 1-2). While the conventionality of the opening might suggest the evocation of a formulaic idiom often associated with oral composition,2 the emphasis is clearly on aurality, on hearing a voice. Much work has been done in recent decades on the evidence in Old English written texts for a poetics that draws on compositional methods derived from an oral culture, either as it had survived into a period of widespread literacy, or as it was imagined to have once existed.3 This essay will not directly address that valuable rehabilitation of oral-formulaic theory into a more sophisticated understanding of early medieval scribal culture, although it will draw on it at times.
    [Show full text]
  • Myth in CS Lewis's Perelandra
    Walls 1 A Hierarchy of Love: Myth in C.S. Lewis’s Perelandra A Thesis Submitted to The Faculty of the School of Communication In Candidacy for the Degree of Master of Arts in English by Joseph Robert Walls May 2012 Walls 2 Liberty University School of Communication Master of Arts in English _______________________________________________________________________ Thesis Chair Date Dr. Branson Woodard, D.A. _______________________________________________________________________ First Reader Date Dr. Carl Curtis, Ph.D. _______________________________________________________________________ Second Reader Date Dr. Mary Elizabeth Davis, Ph.D. Walls 3 For Alyson Your continual encouragement, support, and empathy are invaluable to me. Walls 4 Contents Introduction......................................................................................................................................5 Chapter 1: Understanding Symbol, Myth, and Allegory in Perelandra........................................11 Chapter 2: Myth and Sacramentalism Through Character ............................................................32 Chapter 3: On Depictions of Evil...................................................................................................59 Chapter 4: Mythical Interaction with Landscape...........................................................................74 A Conclusion Transposed..............................................................................................................91 Works Cited ...................................................................................................................................94
    [Show full text]
  • African Language Books for Children: Issues for Authors Viv Edwards University of Reading, Reading, United Kingdom
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by eCommons@AKU eCommons@AKU Institute for Educational Development, East Africa AKU-East Africa January 2011 African language books for children: issues for authors Viv Edwards University of Reading, Reading, United Kingdom Jacob Marriote Ngwaru Aga Khan University, [email protected] Follow this and additional works at: http://ecommons.aku.edu/eastafrica_ied Part of the African Languages and Societies Commons Recommended Citation Edwards, V., Ngwaru, J. M. (2011). African language books for children: issues for authors. Language, Culture and Curriculum, 25(2), 123-137. Available at: http://ecommons.aku.edu/eastafrica_ied/14 Language, Culture and Curriculum ISSN: 0790-8318 (Print) 1747-7573 (Online) Journal homepage: http://www.tandfonline.com/loi/rlcc20 African language books for children: issues for authors Viv Edwards & Jacob Marriote Ngwaru To cite this article: Viv Edwards & Jacob Marriote Ngwaru (2012) African language books for children: issues for authors, Language, Culture and Curriculum, 25:2, 123-137, DOI: 10.1080/07908318.2011.629051 To link to this article: http://dx.doi.org/10.1080/07908318.2011.629051 Published online: 25 Oct 2011. Submit your article to this journal Article views: 201 View related articles Citing articles: 5 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rlcc20 Download by: [INASP - Tanzania] Date: 14 February 2017,
    [Show full text]
  • Text, Orality, Literacy, Tradition, Dictation, Education, and Other Paradigms of Explication in Greek Literary Studies
    Oral Tradition, 15/1 (2000): 96-125 Text, Orality, Literacy, Tradition, Dictation, Education, and Other Paradigms of Explication in Greek Literary Studies Barry B. Powell By now we might hope for some kind of consensus on the genesis of the Homeric poems, but the plot seems as muddled as ever. In the history of Homeric studies we find our truest exemplum of cultural myopia. We don’t know what to do with Homer because we think he is just like us. As we change, he changes too. Our present myopia is, in my experience, bound up with a set of terms that mean too many things, or contradictory things, to too many people, creating the illusion that we have grasped something when we haven’t. From a longer list of similar terms, I have selected six to discuss in this article: text, orality, literacy, tradition, dictation, and education. I do not hope to present a universal or historical description of how such terms have been used, but to show how they have come to be mixed up with each other in a perplexing chaos, presenting a distorted description of the nature and origin of early Greek literature. Text Let us begin by thinking about Homer, who, whatever else, is a text and always has been a text (Fig. 1). Homer is a physical object first, with look and texture and graphemes capable of interpretation. One sometimes hears phrases like “oral text” or similar metaphors, but these I reject out of hand. The Homeric Question is directed to the problem of how this physical object, this text, came into being.
    [Show full text]
  • The Development of Literate Potential in Literature-Based and Skills-Based Classrooms Zhihui Fang, University of Florida
    The Development of Literate Potential The Development of Literate Potential in Literature-Based and Skills-Based Classrooms Zhihui Fang, University of Florida Abstract This study examined young children’s developing understand- ing of written discourse in two instructional settings: literature-based and skills-based. Forty-one first graders were each requested to dictate two “written” stories for others to read at the beginning and end of the school year. The 82 texts were analyzed for their cohesive harmony, conformity to the socioculturally-codified genre conventions, and use of specific written language features. Quantitative analysis revealed statistically sig- nificant increases in cohesion and genre scores, but only marginal gains in the written language features measures. Further, the development of such written discourse knowledge was not significantly impacted by the instructional context. Qualitative analysis revealed that the children’s texts demonstrated impressive advances in the written mode of organiz- ing and communicating information to others, despite evidence of traces of oral discourse patterns and immature control over diverse genres. These findings are discussed in light of relevant literacy research and practice. Literacy is not a natural outgrowth from orality. Becoming literate in our soci- ety requires that children learn to take control over the written mode of communi- cation. In order to do this, they must come to terms with certain features of written discourse: its sustained organization, its characteristic rhythms and structures, its distinctive grammar, and its disembedded quality (Kress, 1994; Olson & Torrance, 1981; Wood, 1998). While home and community are important to the development of a literate mind, it is the school that is commonly considered the most important site for children’s literacy development.
    [Show full text]
  • Book Club Kits
    Book Club Kits Book Club Kits are created from the Ransom Library’s Book Discussion Group’s previous book talks. After a book has been discussed by the group, its multiple copies become a book kit. In each Book Club Kit, you will find: • 6 to 10 copies of the book • One copy of "Good books lately" • One page of questions for discussion • One page of guidelines Borrowing Guidelines: • Book Club Kits are open to all Ransom District Library cardholders. • Book Club Kits may be reserved. • A Book Club Kit may be checked out for eight weeks. • Kits may NOT be renewed. • A patron may check out only one kit at a time. • The person who checks out the Book Club Kit is financially responsible for returning the entire kit. • Please check the number of books before borrowing. Returning Guidelines: • Please check the number of books before returning kit to the library. • Book Club Kits must be returned inside the library. They may not go into the drop box. • Borrowers will be charged $1.00 per day for an overdue Book Club Kit. • Replacement cost of an entire Book Club Kit is $100.00 • Replacement cost of individual parts of the bag will depend on the cost of each particular item. RANSOM DISTRICT LIBRARY - BOOK CLUB KITS Utilizing the Catalog to find these items: - A list of all book kit records can be found by searching “Book Kit” under Subject. - A list of all formats (book, kit form, DVD, audiobook, etc.) in which the item is available can be found by searching the title.
    [Show full text]
  • Translating Mimesis of Orality
    Translating mimesis of orality: Robert Frost’s poetry in Catalan and Italian Marcello Giugliano TESI DOCTORAL UPF / ANY 2012 DIRECTORS DE LA TESI Dra. Victòria Alsina Dr. Dídac Pujol DEPARTAMENT DE TRADUCCIÓ I CIÈNCIES DEL LLENGUATGE Ai miei genitori Acknowledgements My first thank you goes to my supervisors, Dr. Victòria Alsina and Dr. Dídac Pujol. Their critical guidance, their insightful comments, their constant support and human understanding have provided me with the tools necessary to take on the numerous challenges of my research with enthusiasm. I would also like to thank Dr. Jenny Brumme for helping me to solve my many doubts on some theoretical issues during our long conversations, in which a smile and a humorous comment never failed. My special thanks are also for Dr. Luis Pegenaute, Dr. José Francisco Ruiz Casanova, and Dr. Patrick Zabalbeascoa for never hiding when they met me in the corridors of the faculty or never diverting their eyes in despair. Thank you for always being ready to give me recommendations and for patiently listening to my only subject of conversation during the last four years. During the project, I have had the privilege to make two research stays abroad. The first, in 2009, in Leuven, Belgium, at the Center for Translation Studies (CETRA), and the second in 2010 at the Translation Center of the University of Massachusetts at Amherst, USA. I would like to give a heartfelt thank you to my tutors there, Dr. Reine Meylaerts and Dr. Maria Tymoczko respectively, for their tutoring and for offering me the chance to attend classes and seminars during my stay there, converting that period into a fruitful and exciting experience.
    [Show full text]