Literature (LIT) 1
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English Turf Labyrinths Jeff Saward
English Turf Labyrinths Jeff Saward Turf labyrinths, or ‘turf mazes’ as they are popularly known in Britain, were once found throughout the British Isles (including a few examples in Wales, Scotland and Ireland), the old Germanic Empire (including modern Poland and the Czech Republic), Denmark (if the frequently encountered Trojaborg place-names are a reliable indicator) and southern Sweden. They are formed by cutting away the ground surface to leave turf ridges and shallow trenches, the convoluted pattern of which produces a single pathway, which leads to the centre of the design. Most were between 30 and 60 feet (9-18 metres) in diameter and usually circular, although square and other polygonal examples are known. The designs employed are a curious mixture of ancient classical types, found throughout the region, and the medieval types, found principally in England. Folklore and the scant contemporary records that survive suggest that they were once a popular feature of village fairs and other festivities. Many are found on village greens or commons, often near churches, but sometimes they are sited on hilltops and at other remote locations. By nature of their living medium, they soon become overgrown and lost if regular repair and re-cutting is not carried out, and in many towns and villages this was performed at regular intervals, often in connection with fairs or religious festivals. 50 or so examples are documented, and several hundred sites have been postulated from place-name evidence, but only eleven historic examples survive – eight in England and three in Germany – although recent replicas of former examples, at nearby locations, have been created at Kaufbeuren in Germany (2002) and Comberton in England (2007) for example. -
The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 8-2012 The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno Joseph Weiss DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Weiss, Joseph, "The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno" (2012). College of Liberal Arts & Social Sciences Theses and Dissertations. 125. https://via.library.depaul.edu/etd/125 This Dissertation is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W. Adorno A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy October, 2011 By Joseph Weiss Department of Philosophy College of Liberal Arts and Sciences DePaul University Chicago, Illinois 2 ABSTRACT Joseph Weiss Title: The Idea of Mimesis: Semblance, Play and Critique in the Works of Walter Benjamin and Theodor W. Adorno Critical Theory demands that its forms of critique express resistance to the socially necessary illusions of a given historical period. Yet theorists have seldom discussed just how much it is the case that, for Walter Benjamin and Theodor W. -
The Minotaur in Phaedo's Labyrinth: Philosophy's Necessary Myth
Trinity College Trinity College Digital Repository Trinity Publications (Newspapers, Yearbooks, The Trinity Papers (2011 - present) Catalogs, etc.) 2016 The Minotaur in Phaedo’s Labyrinth: Philosophy’s Necessary Myth Gregory Convertito Trinity College, Hartford Connecticut Follow this and additional works at: https://digitalrepository.trincoll.edu/trinitypapers Part of the Classical Literature and Philology Commons Recommended Citation Convertito, Gregory, "The Minotaur in Phaedo’s Labyrinth: Philosophy’s Necessary Myth". The Trinity Papers (2011 - present) (2016). Trinity College Digital Repository, Hartford, CT. https://digitalrepository.trincoll.edu/trinitypapers/43 The Minotaur in Phaedo’s Labyrinth: Philosophy’s Necessary Myth Gregory Convertito Plato’s Phaedo is a confusing dialogue. It takes place after the Apology and the Crito, on Socrates’s last night before his execution; Socrates has been waiting in prison for a long time due to an Athenian law barring executions during the annual ritual to celebrate Theseus’s mythical victory over the Minotaur. This story of the death of Socrates is embedded in a narration by Phaedo himself, who is relating the story to Echecrates. Socrates, after discussing the soul, the self, immortality, and death with Simmias and Cebes, Pythagorean acquaintances who have come to visit him, drinks the φαρμακον and dies. The myth of the Minotaur—a monster which has the body of a man and the head of a bull—is explicitly invoked in the text, which structurally mirrors this myth. Each has a monster, fourteen characters, and a thread which leads out of a labyrinth. In the myth, Theseus and the others are taken into the labyrinth wherein the Minotaur resides as tribute, as dictated by the Delphic Oracle, and the princess Ariadne gives Theseus a ball of thread to attach to the entrance, so he may find his way out again. -
The Place of Creative Writing in Composition Studies
H E S S E / T H E P L A C E O F C R EA T I V E W R I T I NG Douglas Hesse The Place of Creative Writing in Composition Studies For different reasons, composition studies and creative writing have resisted one another. Despite a historically thin discourse about creative writing within College Composition and Communication, the relationship now merits attention. The two fields’ common interest should link them in a richer, more coherent view of writing for each other, for students, and for policymakers. As digital tools and media expand the nature and circula- tion of texts, composition studies should pay more attention to craft and to composing texts not created in response to rhetorical situations or for scholars. In recent springs I’ve attended two professional conferences that view writ- ing through lenses so different it’s hard to perceive a common object at their focal points. The sessions at the Associated Writing Programs (AWP) consist overwhelmingly of talks on craft and technique and readings by authors, with occasional panels on teaching or on matters of administration, genre, and the status of creative writing in the academy or publishing. The sessions at the Conference on College Composition and Communication (CCCC) reverse this ratio, foregrounding teaching, curricular, and administrative concerns, featur- ing historical, interpretive, and empirical research, every spectral band from qualitative to quantitative. CCCC sponsors relatively few presentations on craft or technique, in the sense of telling session goers “how to write.” Readings by authors as performers, in the AWP sense, are scant to absent. -
Victorian Drama
VICTORIAN DRAMA By jOHN A. DEGEN MosT HISTORIANS OF Victorian life and art have not given sustained and serious attention to the drama and the theatrical environn1ent in which it was produced. The theatre as a social pheno1nenon is forgotten in the wake of other, more pressing concerns-the growth of industry, labor legislation, public health, and political enfranchisetnent-while the drama written during the bulk of the century is generally looked upon as the black sheep of Victorian literature. Indeed, even historians of theatrical art tend to treat the nineteenth-century Eng lish theatre with overtones of derision, while most sur ve ys of British dra1na seem to suggest that the genre underwent a nearly total eclipse between the plays of Sheridan and Shaw. Yet the Victorian theatre was one of the most vitally active in the long history of dramatic art. Particularly after the well-reported attendance of the newly ascended Queen Victoria made it unquestionably respectable, the theatre was a part of the lives of London ers of all classes. And since the theatre was patronized by such a broad spectrum of the population, the study of the types of dramatic entertainment which were demanded and made available cannot help but be revealing of the society of the time. As a repository for the resources for such a study, the Lilly Library is as richly endowed with materials relating to the nineteenth-century British theatre as it is in the street literature and other aspects of Victorian popular culture. The core of the Lilly's holdings in this area is the vast collection of nineteenth-century British [ 5 J drama assembled by Keith L. -
Victorian Literature
Victorian Literature Defining Victorian literature in any satisfactory and comprehensive manner has proven troublesome for critics ever since the nineteenth century came to a close. The movement roughly comprises the years from 1830 to 1900, though there is ample disagreement regarding even this simple point. The name given to the period is borrowed from the royal matriarch of England, Queen Victoria, who sat on throne from 1837 to 1901. One has difficulty determining with any accuracy where the Romantic Movement of the early nineteenth century leaves off and the Victorian Period begins because these traditions have so many aspects in common. Likewise, identifying the point where Victorianism gives way completely to Modernism is no easy task. Literary periods are never the discrete, self- contained realms which the anthologies so suggest. Rather, a literary period more closely resembles a rope that is frayed at both ends. Many threads make up the rope and work together to form the whole artistic and cultural milieu. The Victorian writers exhibited some well-established habits from previous eras, while at the same time pushing arts and letters in new and interesting directions. Indeed, some of the later Victorian novelists and poets are nearly indistinguishable from the Modernists who followed shortly thereafter. In spite of the uncertainty of terminology, there are some concrete statements that one can make regarding the nature of Victorian literature, and the intellectual world which nurtured that literature. If there is one transcending aspect to Victorian England life and society, that aspect is change – or, more accurately, upheaval. Everything that the previous centuries had held as sacred and indisputable truth came under assault during the middle and latter parts of the nineteenth century. -
Into the Labyrinth of Knowledge and Power
Into the Labyrinth of Knowledge and Power The library as a gendered space in the western imaginary Sanne Koevoets PhD Dissertation Utrecht University Sanne Koevoets, 2013. This work is licensed under a Creative Commons Attribution-Non Commercial-Share Alike 3.0 Unported License ISBN: 978-90-393-5988-4 Into the Labyrinth of Knowledge and Power The library as a gendered space in the western imaginary In het Labyrint van Kennis en Macht De bibliotheek als gegenderde ruimte in het westerse imaginaire (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof.dr. G.J. van der Zwaan, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op vrijdag 14 juni 2013 des middags te 14.30 uur door Susanna Koevoets geboren op 12 september 1980 te Apeldoorn Promotoren: Prof. Dr. R.L. Buikema Prof. Dr. S. Slapšak Financial support for this research was partially provided by the European Union, Marie Curie Fellowship for Early Stage Training (EU Sixth Framework Programme) Librarians wield unfathomable power. With a flip of the wrist they can hide your dissertation behind piles of old Field and Stream magazines. […] Librarians rule. - The Librarian Avengers Table of contents ACKNOWLEDGEMENTS 3 INTRODUCTION 5 SETTING THE SCENE FOR LIBRARY RESEARCH: RESONANCES OF LIBRARY LOSS 5 SETTING THE SCENE FOR LIBRARY RESEARCH: THE “IMAGE PROBLEM” OF THE FEMALE LIBRARIAN 11 SETTING THE SCENE FOR LIBRARY RESEARCH: INTO THE LABYRINTH 18 1. THEORETICAL FOUNDATIONS OF CULTURAL LIBRARY RESEARCH 22 ARCHIVE THEORY 22 ARCHIVAL EXCLUSION AND BIBLIOGRAPHIC ERASURE 30 EPISTEMOLOGIES OF THE LIBRARY 34 A FEMINIST HETEROTOPOLOGY OF THE LIBRARY 38 METHODOLOGY: TOWARDS A POETICS OF THE LIBRARY 43 2. -
Introduction to Victorian and Twentieth-Century Literature Heesok Chang
Introduction to Victorian and Twentieth-Century Literature Heesok Chang Unlike the preceding three volumes in this Companion to British Literature – the Medieval, Early Modern, and Long Eighteenth Century – the current one attempts to cover at least two distinct periods: the Victorian and the Twentieth Century. To make matters more difficult, the second of these hardly counts as a single period; it is less an epoch than a placeholder. In terms of periodization, the Victorian era is succeeded – or some might say, overthrown – by the Modern. But modernism is not capacious enough to encompass the various kinds of literary art that emerged in Britain following World War II, the postmodern and the postcolonial, for example. We could follow the lead of recent scholars and expand the modernist period beyond the “high” to include the “late” and arguably the “post” as well. But this conceptual as well as temporal expansion does not take in the vital British literature written from the 1970s onward, an historical era distinct from the “postwar” that critics refer to, for now, as the “contemporary” (see English 2006). Of course, all periods are designated after they have finished, including the Victo- rian, which was very much a modernist creation. Yet it is unlikely we will come to call the period stretching from the middle of the last century to the early decades of the new millennium, from the breakup of Britain’s empire to the devolution of Scotland, Wales, and Northern Ireland, “Elizabethan.” And this despite the Victo- rian longevity of the Windsor monarch’s reign. The queen is one and the same, but the national culture is anything but. -
Addition to Summer Letter
May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays. -
ENL 4251 Victorian Poetry Syllabus
ENL 4251: Victorian Literature Theme: The Social Measures of Victorian Poetry Professor: Dr. Amy Kahrmann Huseby Email: [email protected] Discussion Meets: Tues./Thurs. 9:30-10:45 a.m. Location: AC2 Rm. 210 Office Hours: Thurs. 11:00-12:00 and by appointment Office: AC1 Rm. 354 Table of Contents Welcome to ENL 4251: Victorian Poetry Course Description 2 This course engages with literature of Course Theme 2 nineteenth-century England to gain Texts you should buy 3 How we will evaluate your progress 3 understanding of the history, culture, and What you’ll achieve in this course 3 aesthetics of the era. In Victorian England, How you can succeed in this course 4-5 poetry was ubiquitous, informing both Frequently asked questions 5 everyday Victorian practices (expressions of What if you’re sick or miss class? 5 What if you can’t turn work in on time? 5 sociability, sexual identity, faith, and grief, for The types of assignments you’ll do 5 example), and transformative literary, On using cell phones and laptops 5 artistic, political, religious, social, and How you’ll learn about assignments 5 scientific developments of the nineteenth What about syllabus changes? 5 What is academic misconduct? 6 century (the Pre-Raphaelite, Tractarian, and What other resources are available? 6-7 Chartist movements, for instance, or Calendar of readings and due dates 8-12 debates over evolution, empire, and mass culture). Consequently, we will focus our attention entirely on the poetry from this era in this course, working to understand its forms, sounds, and its unique ability to form communities, collectives, and groups. -
A Collection of Exceptional Ancient Greek Coins
A Collection of Exceptional Ancient Greek Coins To be sold by auction at: Sotheby’s, in the Book Room 34-35 New Bond Street London W1A 2AA Day of Sale: Monday 24 October 2011 at 11.00 am Public viewing: Morton & Eden, 45 Maddox Street, London W1S 2PE Thursday 20 October 10.00 am to 4.30 pm Friday 21 October 10.00 am to 4.30 pm Sunday 23 October 10.00 am to 4.30 pm Or by previous appointment. Catalogue no. 51 Price £15 Enquiries: Tom Eden or Stephen Lloyd Cover illustrations: Lot 160 (front); Lot 166 (back); Lot 126 (inside front and back covers) in association with 45 Maddox Street, London W1S 2PE Tel.: +44 (0)20 7493 5344 Fax: +44 (0)20 7495 6325 Email: [email protected] Website: www.mortonandeden.com This auction is conducted by Morton & Eden Ltd. in accordance with our Conditions of Business printed at the back of this catalogue. All questions and comments relating to the operation of this sale or to its content should be addressed to Morton & Eden Ltd. and not to Sotheby’s. Online Bidding Morton & Eden Ltd offer an online bidding service via www.the-saleroom.com. This is provided on the understanding that Morton & Eden Ltd shall not be responsible for errors or failures to execute internet bids for reasons including but not limited to: i) a loss of internet connection by either party; ii) a breakdown or other problems with the online bidding software; iii) a breakdown or other problems with your computer, system or internet connection. -
Pace Nicolino
Pace Nicolina Inte~viewer June 23, 1987 Mary Kasamatsu MK This is an interview with Pace Nicolino. It begins actually before the official interview started. She is talking about some of the things she saw on a trip to Italy several years ago to her parents horne communities. PC They could tell me that there was an old brick building right there and it was there you know. Everything seems to be restored. It is not like ••• I go downtown here and the store is gone and another one is up. It is just like throwing paper plates away you know. It's gone. In the town where my mother was born. Have you ever been over in Italy? MK No I haven't. PC It is the northern part of Italy next to Switzerland. This most beautiful lakes Lago Majoy. In that town Boveno, is the Church, the cornerstone as described in Julius Ceaser's time. I mean it is so interesting to find things like that you know. MK I know it. I had a friend who was part of an exchange student program in college and she went to Amsterdam for a couple of months and was so thunderstruck by this country being so young here by comparison. It is a very common place to find 600 year old buildings. Here a 200 year old house is real special. PC It is real special and they get rid of them. They don't restore them you know. Of course over there they are built with stone and morter and so forth and so it is easier to do it.