Recommended Reading for AP Literature & Composition
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The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information
Cambridge University Press 978-1-107-15962-4 — The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information The Cambridge Companion to Canadian Literature This fully revised second edition of The Cambridge Companion to Canadian Literature offers a comprehensive introduction to major writers, genres, and topics. For this edition several chapters have been completely re-written to relect major developments in Canadian literature since 2004. Surveys of ic- tion, drama, and poetry are complemented by chapters on Aboriginal writ- ing, autobiography, literary criticism, writing by women, and the emergence of urban writing. Areas of research that have expanded since the irst edition include environmental concerns and questions of sexuality which are freshly explored across several different chapters. A substantial chapter on franco- phone writing is included. Authors such as Margaret Atwood, noted for her experiments in multiple literary genres, are given full consideration, as is the work of authors who have achieved major recognition, such as Alice Munro, recipient of the Nobel Prize for literature. Eva-Marie Kröller edited the Cambridge Companion to Canadian Literature (irst edn., 2004) and, with Coral Ann Howells, the Cambridge History of Canadian Literature (2009). She has published widely on travel writing and cultural semiotics, and won a Killam Research Prize as well as the Distin- guished Editor Award of the Council of Editors of Learned Journals for her work as editor of the journal Canadian -
Muriel Spark's Stylish Spinsters: Miss Jean Brodie Past Her Prime
Muriel Spark’s Stylish Spinsters: Miss Jean Brodie Past Her Prime Hope Howell Hodgkins Maggie Smith in The Prime of Miss Jean Brodie (1969) Fashion succeeds by promising to annul the fragmented conditions of modernity with the imposition of a coherent subjectivity. Leslie Rabine / Joanne Finkelstein Baudelairean dédoublement: The wise man is “one who had acquired by habit a power of rapid self-division (dédoublement) and thus of assisting as a disinterested spectator at the phenomena of his own ego.” -D’Essence de la Rire Alexander Moffat, 1984 (Scottish National Portrait Gallery) “. head up, like Sybil Thorndike, her nose arched and proud.” She left the web, she left the loom, She made three paces thro’ the room, She saw the water-lily bloom, She saw the helmet and the plume, She look’d down to Camelot. Alfred, Lord Tennyson “The Lady of Shalott” The Lady of Shalott, William Holman Hunt, 1889-92 (Wadsworth Museum of Art) The Girls of Slender Means Edinburgh Festival 2009 Edwardian blue silk damask dress: “Bluebell” Bluebell the cat Schiaparelli Pink Schiaparelli hat, 1948 Schiaparelli dress, 1938 The Driver’s Seat, 1970 The Driver’s Seat (European title: Identikit), 1974 Mona Washbourne & Elizabeth Taylor Her own work of art: Spark in Rome, 1970 (Jerry Bauer, NLS) “Plump, motherly”: Spark with her son, early 1940s Stylish into old age. [A]n artist is only an artist on condition that he is a double man and that there is not one single phenomenon of his double nature of which he is ignorant. Charles Baudelaire, “D’Essence de la rire”. -
Dark-Night and Nameless:Globalization in Murakami’S Kafka on the Shore and the Wind-Up Bird Chronicle
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2020 Dark-Night and Nameless:Globalization in Murakami’s Kafka on the Shore and The Wind-up Bird Chronicle Thomas Velazquez Herring Follow this and additional works at: https://scholarworks.umt.edu/etd Part of the Cultural History Commons, Japanese Studies Commons, Modern Literature Commons, and the Social History Commons Let us know how access to this document benefits ou.y Recommended Citation Herring, Thomas Velazquez, "Dark-Night and Nameless:Globalization in Murakami’s Kafka on the Shore and The Wind-up Bird Chronicle" (2020). Graduate Student Theses, Dissertations, & Professional Papers. 11657. https://scholarworks.umt.edu/etd/11657 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Dark-Night And Nameless: Globalization in Murakami’s Kafka on the Shore and The Wind-up Bird Chronicle By Tom Herring For the last thirty odd years, Haruki Murakami has been a towering figure on the international literary scene. He has to his name: fourteen novels translated into English, four collections of short stories (and a good handful of short stories which have not been anthologized), and over forty works of nonfiction, including translations of works into Japanese. His first two novels, Hear the Wind Sing and Pinball, 1973, which he wrote basically because he thought he could, are stylistically realist and best characterized by weltschmerz, which in English means angsty world-weariness, a la J.D. -
The Best According To
Books | The best according to... http://books.guardian.co.uk/print/0,,32972479299819,00.html The best according to... Interviews by Stephen Moss Friday February 23, 2007 Guardian Andrew Motion Poet laureate Choosing the greatest living writer is a harmless parlour game, but it might prove more than that if it provokes people into reading whoever gets the call. What makes a great writer? Philosophical depth, quality of writing, range, ability to move between registers, and the power to influence other writers and the age in which we live. Amis is a wonderful writer and incredibly influential. Whatever people feel about his work, they must surely be impressed by its ambition and concentration. But in terms of calling him a "great" writer, let's look again in 20 years. It would be invidious for me to choose one name, but Harold Pinter, VS Naipaul, Doris Lessing, Michael Longley, John Berger and Tom Stoppard would all be in the frame. AS Byatt Novelist Greatness lies in either (or both) saying something that nobody has said before, or saying it in a way that no one has said it. You need to be able to do something with the English language that no one else does. A great writer tells you something that appears to you to be new, but then you realise that you always knew it. Great writing should make you rethink the world, not reflect current reality. Amis writes wonderful sentences, but he writes too many wonderful sentences one after another. I met a taxi driver the other day who thought that. -
Erewhon Fall 2021
198 EREWHON CATALOG FALL 2021 EREWHON CATALOG FALL 2021 Lonely Castle in the Mirror Mizuki Tsujimira n a tranquil neighborhood of Tokyo seven students are avoiding going to school I– hiding in their darkened bedrooms, unable to face their family and friends – until the moment they find the mirrors in their bedrooms are shining. At a single touch, they are pulled from their lonely lives into to a wondrous castle straight out of a Grimm’s fairy tale. This whimsical place, oddly lacking in food and running water but full of electrical sockets, is home to a petulant girl in a mask, named Wolf Queen and becomes their playground and refuge during school hours. Hidden within the walls they're told is a key that will grant one wish, and a set of clues with which to find it. But there's a catch: the key must • Bestselling, prizewinning, be found by the end of the school year and they must leave the premises by five international success: Lonely Castle o'clock each day or else suffer a fatal end. has sold half a million copies and was a #1 bestseller in Japan. It was As time passes, a devastating truth emerges: only those brave enough to share the winner of the Japan Booksellers their stories will be saved. And so they begin to unlock each other's stories: how Award, voted for by the booksellers a boy is showered with more gadgets than love; how another suffers a painful across Japan. Translation rights have sold in Italy, France, Taiwan, Korea, and unexplained rejection and how a girl lives in fear of her predatory stepfather. -
Ideology and Rhetoric
Ideology and Rhetoric Ideology and Rhetoric: Constructing America Edited by Bożenna Chylińska Ideology and Rhetoric: Constructing America, Edited by Bożenna Chylińska This book first published 2009 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2009 by Bożenna Chylińska and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-0163-1, ISBN (13): 978-1-4438-0163-8 The Editor wishes to acknowledge the invaluable assistance of the University of Warsaw Foundation, Poland TABLE OF CONTENTS Introduction Bożenna Chylińska . xi PART I Poetry, Drama, and Prose:Femininity Revisited, Death Reconsidered . 1 Edna St. Vincent Millay and Marianne Moore: Two Types of “Feminine Masquerade” Paulina Ambroży-Lis . 3 Marys and Magdalenes: Constructing the Idea of a “Good Daughter” in Early American Drama Kirk S. Palmer . 17 Don DeLillo’s Rhetoric of Exhaustion and Ideology of Obsolescence: The Case of Cosmopolis Justyna Kociatkiewicz . 29 Against Simulation: ‘Zen’ Terrorism and the Ethics of Self-Annihilation in Don Delillo’s Players Julia Fiedorczuk . 41 PART II African American Studies:The Rhetoric of Blackness . 51 “Mislike Me Not For My Complexion”:The First Biography of Ira Aldridge, the African American Tragedian (1807-1867) Krystyna Kujawińska Courtney . 53 (De)Constructing Gender Ideology in Alice Walker’s The Third Life of Grange Copeland Pi-hua Ni . -
MS ATWOOD, Margaret Papers Coll
MS ATWOOD, Margaret Papers Coll. 00127L Gift of Margaret Atwood, 2017 Extent: 36 boxes and items (11 metres) Includes extensive family and personal correspondence, 1940s to the present; The Handmaid’s Tale TV series media; Alias Grace TV series media; The Heart Goes Last dead matter; appearances; print; juvenilia including papier mache puppets made in high school; Maternal Aunt Joyce Barkhouse (author of Pit Pony and Anna’s Pet), fan mail; professional correspondence and other material Arrangement note: correspondence was organized in various packets and has been kept in original order, rather than alphabetical or chronological order Restriction note: Puppets are restricted due to their fragility (Boxes 26-29). Box 1 Family correspondence, 1970s-1980s: 95 folders Parents (Carl and Margaret Eleanor Atwood) Aunt Kae Cogswell Aunt Ada Folder 1 Mother to Peggy and Jim ALS and envelope January 2, 1969 [sic] 1970 Folder 2 Mother to Peggy and Jim ALS and envelope March 30, 1970 Folder 3 Mother to Peggy and Jim TLS and envelope April 21, 1970 Folder 4 Mother to Peggy and Jim TLS and ALS, envelope April 29, 1970 Folder 5 Mother to Peggy and Jim ALS August 20, 1970 Folder 6 Mother to Peggy and Jim ALS September 6, 1970 Folder 7 Mother to Peggy and Jim TLS, ANS and envelope September 17, 1970 1 MS ATWOOD, Margaret Papers Coll. 00127L Folder 8 Mother to Peggy ALS September 19, 1970 Folder 9 Dad to Peggy ALS September 26, 1970 Folder 10 Mother to Peggy and Jim TLS (stamps) and envelope October 14, 1970 Folder 11 Mother to Peggy and Jim ALS November 10, 1970 Folder 12 Mother to Peggy ALS November 15, 1970 Folder 13 Mother to Peggy and Jim ALS December 20, 1970 Folder 14 Mother to Peggy and Jim TLS and envelope December 27, 1970 Folder 15 Mother to Peggy and Jim TLS and envelope January 8, 1971 Folder 16 Mother to Peggy and Jim TLS and envelope January 15, 1971 Folder 17 Mother to Peggy and Jim TLS January 20, 1971 TLS and envelope January 27, 1971 Folder 18 Mother to Peggy ALS and envelope November 25, 1973 2 MS ATWOOD, Margaret Papers Coll. -
What Literature Knows: Forays Into Literary Knowledge Production
Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism. -
AP Lit 2019 Summer Reading
AP Literature and Composition Summer Reading List 2019-2020 Drama Ayad Akhtar- The Who & The What Suzan-Lori Parks- Topdog/Underdog Samuel Beckett- Waiting for Godot Yasmina Reza- God of Carnage Euripides- The Bacchae Peter Shaffer- Equus Edward Albee- Who’s Afraid of Virginia Woolf? William Shakespeare- King Lear Anton Chekhov- Three Sisters William Shakespeare- Henry V Kristoffer Diaz- The Elaborate Entrance of Chad Deity Sophocles- Antigone T.S. Eliot- Murder in the Cathedral Sophocles- Oedipus Rex David Henry Hwang- M. Butterfly Tennessee Williams- The Glass Menagerie Tony Kushner- Angels in America August Wilson- Gem of the Ocean Eugene O’Neill- Long Day’s Journey Into Night George C. Wolfe- The Colored Museum Literature Chimamanda Adichie - Americanah Thomas Hardy- Tess of the d’Urbervilles Chimamanda Adichie - Half of a Yellow Sun Ernest Hemingway- The Sun Also Rises Rudolfo Anaya- Bless Me Ultima James Joyce- A Portrait of the Artist as a Young Man Jane Austen- Northanger Abbey James Joyce- Ulysses Jane Austen- Pride and Prejudice Joy Kogawa- Obasan James Baldwin- Go Tell it on the Mountain Chang-Rae Lee- Native Speaker Charlotte Brontë- Jane Eyre Gabriel García Márquez- One Hundred Years of Solitude Emily Brontë- Wuthering Heights Gabriel García Márquez- Love in the Time of Cholera Kate Chopin- The Awakening Herman Melville- Billy Budd Sandra Cisneros- Woman Hollering Creek Herman Melville- Moby Dick Joseph Conrad- Heart of Darkness Toni Morrison- Sula Edwidge Danticat- Breath, Eyes, Memory Flannery O’Connor- Wise Blood Junot Diaz- The Brief Wondrous Life of Oscar Wao Alan Paton- Cry, the Beloved Country Charles Dickens- Bleak House Leslie Marmon Silko- Ceremony Charles Dickens- Great Expectations Upton Sinclair- The Jungle Fyodor Dostoevsky- Crime and Punishment Leo Tolstoy- Anna Karenina William Faulkner- The Sound and the Fury Edith Wharton- Ethan Frome George Eliot- The Mill on the Floss Virginia Woolf- Mrs. -
Cahiers-Papers 53-1
The Giller Prize (1994–2004) and Scotiabank Giller Prize (2005–2014): A Bibliography Andrew David Irvine* For the price of a meal in this town you can buy all the books. Eat at home and buy the books. Jack Rabinovitch1 Founded in 1994 by Jack Rabinovitch, the Giller Prize was established to honour Rabinovitch’s late wife, the journalist Doris Giller, who had died from cancer a year earlier.2 Since its inception, the prize has served to recognize excellence in Canadian English-language fiction, including both novels and short stories. Initially the award was endowed to provide an annual cash prize of $25,000.3 In 2005, the Giller Prize partnered with Scotiabank to create the Scotiabank Giller Prize. Under the new arrangement, the annual purse doubled in size to $50,000, with $40,000 going to the winner and $2,500 going to each of four additional finalists.4 Beginning in 2008, $50,000 was given to the winner and $5,000 * Andrew Irvine holds the position of Professor and Head of Economics, Philosophy and Political Science at the University of British Columbia, Okanagan. Errata may be sent to the author at [email protected]. 1 Quoted in Deborah Dundas, “Giller Prize shortlist ‘so good,’ it expands to six,” 6 October 2014, accessed 17 September 2015, www.thestar.com/entertainment/ books/2014/10/06/giller_prize_2014_shortlist_announced.html. 2 “The Giller Prize Story: An Oral History: Part One,” 8 October 2013, accessed 11 November 2014, www.quillandquire.com/awards/2013/10/08/the-giller- prize-story-an-oral-history-part-one; cf. -
Literary Tricksters in African American and Chinese American Fiction
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2000 Far from "everybody's everything": Literary tricksters in African American and Chinese American fiction Crystal Suzette anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Literature Commons, and the Ethnic Studies Commons Recommended Citation anderson, Crystal Suzette, "Far from "everybody's everything": Literary tricksters in African American and Chinese American fiction" (2000). Dissertations, Theses, and Masters Projects. Paper 1539623988. https://dx.doi.org/doi:10.21220/s2-z7mp-ce69 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
The Postmodern Sacred Course Information
SUNY Cortland English Department ENG 529: The Postmodern Sacred Course Information: Professor Information: 3 Credit Hours Dr. Marni Gauthier Spring 2011 Phone: 753-2076 Office: Old Main 114E Office Hours: T 1:15-3, R 8:30-9:45 Tues 4:20-6:50 p.m. & by appointment E-mail: through our myRedDragon classroom Required Texts: ¥ Don DeLillo, “The Angel Esmeralda” (1994) ¥ Louise Erdrich, Tracks (1988) ¥ Toni Morrison, Paradise (1998) ¥ Michael Ondaatje, The English Patient (1992) ¥ *Films: Blade Runner: The Director’s Cut (1993); Contact (1997); The Matrix (1999); The Lord of the Rings: Fellowship of the Ring (2001): (all on 2-hr reserve in the Library) *NB: Like the written texts, the films are required texts for this course. You are responsible for viewing each film no more than one week prior to our class discussion of it--even if you have previously seen it. This is because each film needs to be fresh in your mind as we refer to it in class--juxtaposing and close reading specific scenes; additionally, you will have assigned papers on the films. If there is interest and/or need, I will arrange on-campus screenings of the films on evenings prior to our class discussions of them; we will discuss this further in class. ¥ Required secondary readings (on e-Reserve at Memorial Library): where citation is absent in the Course Schedule (below), it is listed on the Sign-up Sheet for Oral Presentations. Course Description, Goals and Objectives: The (re)emergence of the sacred in a secular, contemporary world has been variously dubbed the “postmodern sublime”; the “postsecular”; the “postmodern sacred.” This course will map this cultural terrain by exploring several new forms of religiously inflected seeing and being.