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Nuclear Discourse and Its Discontents, Or Apocalypse Now Or Never Jean Bethke Elshtain
Vietnam Generation Volume 1 Number 3 Gender and the War: Men, Women and Article 21 Vietnam 10-1989 Nuclear Discourse and its Discontents, or Apocalypse Now or Never Jean Bethke Elshtain Follow this and additional works at: http://digitalcommons.lasalle.edu/vietnamgeneration Part of the American Studies Commons Recommended Citation Elshtain, Jean Bethke (1989) "Nuclear Discourse and its Discontents, or Apocalypse Now or Never," Vietnam Generation: Vol. 1 : No. 3 , Article 21. Available at: http://digitalcommons.lasalle.edu/vietnamgeneration/vol1/iss3/21 This Article is brought to you for free and open access by La Salle University Digital Commons. It has been accepted for inclusion in Vietnam Generation by an authorized editor of La Salle University Digital Commons. For more information, please contact [email protected]. NucLear D iscourse ancI Its D iscontents, or, ApocAlypsE Now or Never Jean BEThkE ElskrAiN Human beings think most often in images; a terrible or delightful picture comes into our minds and then we seek to find words to express it, to capture it, to make it somehow manageable. Thus it is with the possibility of nuclear war. Our images are fixed. The scenes of utter destruction at Hiroshima and Nagasaki; two cities laid waste; people disappeared, remaining as shadows on cement or persisting in a terrible and painful twilight zone of lingering death from radiation. Or, even years later, moving through the world carrying within them a perceived taint, a threat to themselves and others: “I am one who has been touched in the most frightening way by the most horrible sort of weapon.” I taught a class at the University of Massachusetts/Amherst for five years called “Issues of War and Peace in a Nuclear Age.” Inevitably, we would arrive at the section of the course that required a discussion of the dropping of the atomic bombs in World War 2. -
Translation Studies As a Transforming Model for the Humanities
TRANSLATION STUDIES AS A TRANSFORMING MODEL FOR THE HUMANITIES Lynn Hoggard Dennis M. Kratz Midwestern State University (U.S.A.) The University of Texas at Dallas (U.S.A.) [email protected] [email protected] Rainer Schulte The University of Texas at Dallas (U.S.A.) [email protected] Abstract: The digital revolution that began in the twentieth century and continues today has profound and surprising implications for the role of the humanities in higher education. Three prominent characteristics of the twenty-first century — ubiquitous technology, global interaction, and relentless change — require a new approach to the education that fosters technological expertise, communication across boundaries of language and culture, and creative response to new challenges and opportunities. This situation creates new opportunities for a revitalized role of the humanities in education that combines critical with creative thought and emphasizes communication in a world connected by interactive technology. Literary translation can be a key contributor to the development and implementation of a humanities curriculum for the modern world designed to educate technologically sophisticated, innovative “citizens of the world.” This paper has two sections. The first section sets a conceptual framework; the second suggests ways to apply translation to achieve this 1 goal: both employing translation in a traditional manner and attempting to expand its meaning and implications. Key Words: translation; interpretation; creativity; humanities; education 1. PART ONE: EDUCATION IN THE DIGITAL WORLD The digital revolution that began in the twentieth century and continues today has profound and perhaps surprising implications for the role of the humanities in higher education. Despite superficial differences, from a wide range of sources — among them educators, economists, psychologists, and futurists — there has emerged a consensus of three essential characteristics of our brave new world. -
Andrzej Kopacki Laudatory Speech for Martin Pollack Good Evening
Andrzej Kopacki Laudatory Speech for Martin Pollack Good evening, Martin. Good evening, ladies and gentlemen. Just what does it mean to be a translator? That’s a tricky question and one that has become suspiciously relevant these days. I say “suspiciously relevant” because passing fads and short-lived cultural trends are dodgy by definition. Literary translation has become fashionable. It’s a staple focus of conferences and seminars, symposiums and workshops nowadays. The good old translator, once the wallflower in the ballroom of literature, has suddenly been asked to dance. But the music is not very pleasant because the orchestra seems to be playing—literally—out of tune. It does not seem to know the score, but only abstract concepts hatched in the theory of translation, cultural studies and linguistics. These abstract concepts are apparently needed for the “transcultural” world to reflect on its own globality. Passing fads should not be overestimated; between one ballroom and another, the translator puts on the overalls of a pipefitter of literary works. Things are supposed to be fast and neat. The payment will be made according to the rate set by the works dealer. The name of the man or woman in the overalls, with a black case full of nuts and bolts, seems unimportant. There is no space for it on the website. The face? Who remembers the face of a pipefitter? Yet translators have always been with us. Let’s face it: the vast majority of literary works would have never been known to us had it not been for translators. -
Dance and the Colonial Body: Re-Choreographing Postcolonial Theories of the Body
Université de Montréal Dance and the Colonial Body: Re-choreographing Postcolonial Theories of the Body par Rachid Belghiti Département d’études anglaises Faculté des arts et des sciences Thèse présentée à la Faculté des études supèrieures en vue de l’obtention du grade de Philosophiae Doctor (Ph.D) en études anglaises Septembre, 2012 © Rachid Belghiti, 2012 Résumé iii Cette dissertation traite la danse comme une catégorie d’analyse permettant de réorienter ou de ré-chorégraphier les théories postcoloniales du corps. Mon étude montre qu’ Edward Said, par exemple, décrit la danse seulement à travers le regard impérial, et que Homi Bhabha et Gayatri Spivak négligent complètement le rôle de la dance dans la construction de la subjectivité postcoloniale. Mon étude explique que Stavros Karayanni récemment explore la danse masculine et féminine comme espaces de résistance contre la domination coloniale. Toutefois, l’analyse de Karayanni met l’accent seulement sur le caractère insaisissable de la danse qui produit une ambigüité et une ambivalence dans le regard du sujet impériale. Contrairement aux approches de Said et de Karayanni, ma dissertation explore la danse comme un espace ou le corps du sujet colonisé chorégraphie son histoire collective que l’amnésie coloniale ne cesse de défigurer au moyen de l’acculturation et de marchandisation. Je soutiens que la danse nous offre la possibilité de concevoir le corps colonisé non seulement dans son ambiguïté, comme le souligne Karayanni, mais aussi dans son potentiel de raconter corporellement sa mémoire collective de l’intérieur de la domination impériale. Ma dissertation soutient que les catégories de l’ambiguïté et de l’insaisissabilité mystifient et fétichisent le corps dansant en le décrivant comme un élément évasif et évanescent. -
Eastern Europe, Literature, Postimperial Difference
Form and Instability 8flashpoints The FlashPoints series is devoted to books that consider literature beyond strictly national and disciplinary frameworks, and that are distinguished both by their historical grounding and by their theoretical and conceptual strength. Our books engage theory without losing touch with history and work historically without falling into uncritical positivism. FlashPoints aims for a broad audience within the humanities and the social sciences concerned with moments of cultural emergence and transformation. In a Benjaminian mode, FlashPoints is interested in how literature contributes to forming new constellations of culture and history and in how such formations function critically and politically in the present. Series titles are available online at http://escholarship.org/uc/flashpoints. series editors: Ali Behdad (Comparative Literature and English, UCLA), Founding Editor; Judith Butler (Rhetoric and Comparative Literature, UC Berkeley), Founding Editor; Michelle Clayton (Hispanic Studies and Comparative Literature, Brown University); Edward Dimendberg (Film and Media Studies, Visual Studies, and European Languages and Studies, UC Irvine), Coordinator; Catherine Gallagher (English, UC Berkeley), Founding Editor; Nouri Gana (Comparative Literature and Near Eastern Languages and Cultures, UCLA); Susan Gillman (Literature, UC Santa Cruz); Jody Greene (Literature, UC Santa Cruz); Richard Terdiman (Literature, UC Santa Cruz) A complete list of titles is on page 222. Form and Instability Eastern Europe, Literature, Postimperial Difference Anita Starosta northwestern university press ❘ evanston, illinois THIS BOOK IS MADE POSSIBLE BY A COLLABORATIVE GRANT FROM THE ANDREW W. MELLON FOUNDATION. Northwestern University Press www.nupress.northwestern.edu Copyright © 2016 by Northwestern University Press. Published 2016. All rights reserved. Digital Printing isbn 978-0-8101-3202-3 paper isbn 978-0-8101-3259-7 cloth Library of Congress Cataloging-in-Publication data are available from the Library of Congress. -
The Other Review
Ryszard Kapu ści ński, The Other (Verso, 2008). Ryszard Kapu ści ński was a Polish correspondent. Victoria Brittain writes in his 2007 obituary for The Guardian : ‘journalism was a mission, not a career, and he spent much of his life, happily, in uncomfortable and obscure places, many of them in Africa, trying to convey their essence to a continent far away.’ 1 She continues that wartime atrocities deeply affected the author’s psyche and this early experiences taught him about helplessness and how language could fail the resonance of events. Nonetheless he became a prize-winning author with books translated into forty languages. Towards the end of his life Kapu ści ński made lecture tours in Mexico with South American author Gabriel García Márquez who gave him the epithet: ‘The true master of journalism’2 But his literary style is a matter of some controversy. This edition of The Other was translated in 2008 by Antonia Lloyd Jones. The flyleaf touts the book as ‘a distillation of reflections from a lifetime of travel’ and suggests that it ‘takes a fresh look at the Western idea of the Other.’ A slim volume at 20,000 words, the book contains four lectures, eleven footnotes and a useful index of terms and names. Kapu ści ński’s work traces how the West has understood the non- European from classical times to the present day but goes further to suggest that even in the twenty-first century Europeans treat those from the Global South as aliens and inferior partners in sharing responsibility for the fate of mankind. -
Draining the English Channel': the European Revolution in Three Kingdoms & Three Keynotes (By Simon Stephens, David Lan & Edward Bond)
©Draining the English Channel©: The European Revolution in three kingdoms & three keynotes (by Simon Stephens, David Lan & Edward Bond) Article (Accepted Version) Fowler, Benjamin (2016) 'Draining the English Channel': The European Revolution in three kingdoms & three keynotes (by Simon Stephens, David Lan & Edward Bond). Contemporary Theatre Review, 26 (3). pp. 328-336. ISSN 1048-6801 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/61989/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content -
Beowulf to Ancient Greece: It Is T^E First Great Work of a Nationai Literature
\eowulf is to England what Hcmer's ///ac/ and Odyssey are Beowulf to ancient Greece: it is t^e first great work of a nationai literature. Becwulf is the mythical and literary record of a formative stage of English civilization; it is also an epic of the heroic sources of English cuitu-e. As such, it uses a host of tra- ditional motifs associated with heroic literature all over the world. Liks most early heroic literature. Beowulf is oral art. it was hanaes down, with changes, and embe'lishrnents. from one min- strel to another. The stories of Beowulf, like those of all oral epics, are traditional ones, familiar to tne audiences who crowded around the harp:st-bards in the communal halls at night. The tales in the Beowulf epic are the stories of dream and legend, of monsters and of god-fashioned weapons, of descents to the underworld and of fights with dragons, of the hero's quest and of a community threat- ened by the powers of evil. Beowulf was composed in Old English, probably in Northumbria in northeast England, sometime between the years 700 and 750. The world it depicts, however, is much older, that of the early sixth century. Much of the material of the poem is based on early folk legends—some Celtic, some Scandinavian. Since the scenery de- scribes tne coast of Northumbna. not of Scandinavia, it has been A Celtic caldron. MKer-plateci assumed that the poet who wrote the version that has come down i Nl ccnlun, B.C.). to us was Northumbrian. -
A Metaphor in "Beowulf"
University of South Carolina Scholar Commons Faculty Publications English Language and Literatures, Department of Fall 1996 A Metaphor in "Beowulf " 2487a: gūðhelm tōglād Scott wG ara University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/engl_facpub Part of the English Language and Literature Commons Publication Info Published in Studies in Philology, Volume 93, Issue 4, Fall 1996, pages 333-348. Gwara, Scott. (1996). A eM taphor in "Beowulf" 2487a: gūðhelm tōglād. Studies in Philology, 93 (4), 333-348. ©Studies in Philology 1996, University of North Carolina Press This Article is brought to you by the English Language and Literatures, Department of at Scholar Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Volume XCIII Fall, 1996 Number 4 A Metaphor in Beowulf 2487a: gfthelm toglad by ScottGwara IN many respects the Beowulf-poet'sart defies comparison,as few authors from pre-Conquest England match his linguistic sophisti- cation.' Perhaps one failing of readers has therefore been to define words without serious scrutiny where the sense seems obvious. The poet's depiction of Ongenpeow's death serves as an object lesson, for one half-line in the episode has been misconstrued in dictionaries, glos- saries, and translations. Line 2487a, gi0helm toglad,occurs in a scene describing the death of Ongenpeow, king of the Scylfings: Pa ic on morgne gefragn maegoberne billes ecgum on bonan staelan, PaerOngenpeow Eoforesniosao; guOhelmtoglad, gomela Scylfing hreas <heoro>blac; hond gemunde faehbogenoge, feorhswengene ofteah. -
541 Summer Reading Book: Beowulf (Burton Raffel Translation), ISBN: 978-0451530967
541 Summer Reading Book: Beowulf (Burton Raffel translation), ISBN: 978-0451530967 Summer Reading Assignment and College Application Essay Expectations 1. Submit your new draft of your college application essay on the first day of class to your seminar teacher. Combine your revised essay as the first page of a document that includes the draft that has your junior teacher’s comments on it as the second page. Submissions lose half credit if they do not include the draft that has your junior teacher’s comments on it. Submit your assignment electronically as per your seminar teacher’s instructions. 2. While reading Beowulf, answer the following questions. Make sure to incorporate passages from the text in your answers, citing the lines you quote. You will submit your summer reading electronically on the first day of classes. When quoting and citing passage from Beowulf, apply the following format: Up to three lines of verse (the lines of poetry as they appear in the text), offset the quoted passage from your prose with quotation marks, indicate the ends of lines with backslashes, and cite the line numbers. Example: After landing in Denmark, Beowulf reveals his heritage to the watchman: “…my father was a famous man,/ a noble warrior-lord named Ecgtheow” (262-263) 1869-73. For more than three lines of verse, reduplicate the entire passage as it appears in the text (including lineation and capitalization), setting off the passage from your prose by tabbing the entire passage in 1 inch; do not use quotation marks, unless they are the author’s. Cite as above. -
Books for Courses 2010
PENGUIN GROUP (USA) Medieval Studies BOOKS FOR COURSES 2010 Here is a great selection of Penguin Group (USA)’s of Medieval Studies titles. Click on the 13-digit ISBN to get more information on each title. Examination and personal copy forms are available at the back of the catalog. For personal service, adoption assistance, and complimentary exam copies, sign up for our College Faculty Info Service at http://www.penguin.com/facinfo 2 • TABLE OF CONTENTS Cover design by Jaya Miceli. Table of Contents EARLY MEDIEVAL ENGLAND/ ANGLO-SAXON ERA (A.D. 400-1066) .................................. 3 ENGLAND IN THE HIGH MIDDLE AGES (A.D. 1066-1300) ....... 3 THE AGE OF ARTHUR .................................................. 4 ENGLAND IN THE LATE MIDDLE AGES (A.D. 1300-1499) ........ 5 GEOFFrey CHAUCER................................................... 6 IRELAND, SCOTLAND, & WALES ......................................... 6 THE VIKING AGE/SCANDINAVIA ........................................ 7 FRANCE ......................................................................... 9 SPAIN .......................................................................... 10 GERMANY .................................................................... 10 EASTERN EUROPE & RUSSIA ........................................... 10 ITALY ........................................................................... 11 DANTE ALIGHIERI .................................................... 12 EARLY CHRISTIANITY & THE CRUSADES ........................... 12 BYZANTINE & EARLY OTTOMAN -
Female Representations of Heroism in Old English Poetry
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2018 Breaking with tradition(?) : female representations of heroism in old english poetry. Kathryn A. Green University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the English Language and Literature Commons Recommended Citation Green, Kathryn A., "Breaking with tradition(?) : female representations of heroism in old english poetry." (2018). Electronic Theses and Dissertations. Paper 2971. https://doi.org/10.18297/etd/2971 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. BREAKING WITH TRADITION(?): FEMALE REPRESENTATIONS OF HEROISM IN OLD ENGLISH POETRY By Kathryn A. Green B.A., University of Louisville, 1987 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Comparative Humanities University of Louisville Louisville, KY May 2018 Copyright 2018 by Kathryn A. Green All rights reserved BREAKING WITH TRADITION(?): FEMALE REPRESENTATIONS OF HEROISM IN OLD ENGLISH POETRY By Kathryn A. Green B.A., University of Louisville, 1987 M.A., University of Louisville, 2012 Dissertation Approved on April 19, 2018 by the following Dissertation Committee: ___________________________________________ Dr.