Talking Blind: Disability, Access, and the Discursive Turn
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Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
Madonna Mary
MADONNA MARY. liV MRS. OLIPHANT, AUTHOR OF "THE LIFE OF EDWARD IRVING,' "AGNES," Etc. IN THREE VOLUMES. vol. in. C/7, ,T--\3 LONDON : HUEST AND BLACKETT, PUBLISHERS, SUCCESSOES TO HENEY COLBUEN, 13, GEEAT MARLBOROUGH STREET. 1867. The right of Translation it reserved. JIJTO. -/ J2<?iTt LONDON : SAYILL AND EDWAKDS, PRINTERS, CHANDOS STBEBT, COYEST GARDEN. wmmm CHAPTER I. IILFRID was so stunned by the in formation thus suddenly given him, that lie had but a confused con sciousness of the explanations which followed. He was aware that it was all made clear to him, and that he uttered the usual words of assent and conviction ; but in his mind he was too profoundly moved, too completely shaken and unsettled, to be aware of anything but the fact thus strangely communicated. It did not occur to him for a moment that it was not a fact. He saw no improbability, nothing unnatural in it. He was too young to think that anything was unlikely because it was extraordinary, or to doubt what was affirmed with so much confidence. But, in the meantime, the news was so startling, that it upset his mental balance, and made him in capable of understanding the details. Hugh was not the eldest son. It was he who was the VOL. III. B 2 Madonna Mary. eldest son. This at the moment was all that his mind was capable of taking in. He stayed by Percival as long as he remained, and had the air of devouring everything the other said ; and he went with him to the railway station when he went away. -
William Blake 1 William Blake
William Blake 1 William Blake William Blake William Blake in a portrait by Thomas Phillips (1807) Born 28 November 1757 London, England Died 12 August 1827 (aged 69) London, England Occupation Poet, painter, printmaker Genres Visionary, poetry Literary Romanticism movement Notable work(s) Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Four Zoas, Jerusalem, Milton a Poem, And did those feet in ancient time Spouse(s) Catherine Blake (1782–1827) Signature William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language".[1] His visual artistry led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced".[2] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[3] Although he lived in London his entire life except for three years spent in Felpham[4] he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God",[5] or "Human existence itself".[6] Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings William Blake 2 and poetry have been characterised as part of the Romantic movement and "Pre-Romantic",[7] for its large appearance in the 18th century. -
ENDER's GAME by Orson Scott Card Chapter 1 -- Third
ENDER'S GAME by Orson Scott Card Chapter 1 -- Third "I've watched through his eyes, I've listened through his ears, and tell you he's the one. Or at least as close as we're going to get." "That's what you said about the brother." "The brother tested out impossible. For other reasons. Nothing to do with his ability." "Same with the sister. And there are doubts about him. He's too malleable. Too willing to submerge himself in someone else's will." "Not if the other person is his enemy." "So what do we do? Surround him with enemies all the time?" "If we have to." "I thought you said you liked this kid." "If the buggers get him, they'll make me look like his favorite uncle." "All right. We're saving the world, after all. Take him." *** The monitor lady smiled very nicely and tousled his hair and said, "Andrew, I suppose by now you're just absolutely sick of having that horrid monitor. Well, I have good news for you. That monitor is going to come out today. We're going to just take it right out, and it won't hurt a bit." Ender nodded. It was a lie, of course, that it wouldn't hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. "So if you'll just come over here, Andrew, just sit right up here on the examining table. -
The Complete Stories
The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York. -
Madonna... Who Cares ?
THE PROGRESSIVE WOMAN'S Q 1 ON THE Vol. XXVI SPRING 1993 $3.95 RUSSIAN OMEN: MADONNA... EX AFTER WHO CARES ? THE FALL BEYOND "CHOICE"- CONTROYERSIES IN WOMEN'S HEALTH ELAYNE RAPPING ON WOODY ALLEN; MIA FARROW " pt. Women rs History is Worth Saving Help Preserve Paulsdale In 1923, Alice Paul authored the Equal We know the importance of public Rights Amendment and crusaded for its pas- memoriakThey serve as symbols of our sage for the rest of her life. She also wrote the «>lle«ive past and inspirations for our equalrightsstatementsintheUnitedNations futurc- ^ there are few national monu- Charter Because of Alice Paul's work, the ments wluch KCO&™ the contributions of 1964CivilRightsActoutlawedsexdiscrimi- Amencan women. Although women sparked " B . the historic preservation movement in this nation m the workplace. m Qn[y A% of al, Natbnal Historic Today, the Alice Paul Centennial Foun- i^fa^ honor the accomplishments of dation, a volunteer, not-for-profit organiza- women> tion, is struggling to preserve Paulsdale, her Women pionecred major reforms in edu- birthplace and home. cation, health care, labor and many other Paulsdale, recently named a National His- areas of our society. Paulsdale will become a Alice Stokes Paul toric Landmark, is acirca 1840 farmhouse on national leadership center where new (1885 - 1977) 6.5 acres in Mount Laurel, New Jersey, near generations of women and girls will come Philadelphia. This is the place where Alice together to create solutions to the problems voices throughout the land, re- peating oaths of office for the Cabinet, the To honor the vision and courage of Alice Paul, the Foundation plans to create at seizing this opportunity to preserve Paulsdale Senate, the House and for state and local as a place to help create a positive future for offices. -
The Ambiguity of “Weeping” in William Blake's Poetry
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 The Ambiguity of “Weeping” in William Blake’s Poetry Audrey F. Lytle Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Liberal Studies Commons, and the Scholarship of Teaching and Learning Commons Recommended Citation Lytle, Audrey F., "The Ambiguity of “Weeping” in William Blake’s Poetry" (1968). All Master's Theses. 1026. https://digitalcommons.cwu.edu/etd/1026 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. ~~ THE AMBIGUITY OF "WEEPING" IN WILLIAM BLAKE'S POETRY A Thesis Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Education by Audrey F. Lytle August, 1968 LD S77/3 I <j-Ci( I-. I>::>~ SPECIAL COLL£crtoN 172428 Library Central W ashingtoft State Conege Ellensburg, Washington APPROVED FOR THE GRADUATE FACULTY ________________________________ H. L. Anshutz, COMMITTEE CHAIRMAN _________________________________ Robert Benton _________________________________ John N. Terrey TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION 1 Method 1 Review of the Literature 4 II. "WEEPING" IMAGERY IN SELECTED WORKS 10 The Marriage of Heaven and Hell 10 Songs of Innocence 11 --------The Book of Thel 21 Songs of Experience 22 Poems from the Pickering Manuscript 30 Jerusalem . 39 III. CONCLUSION 55 BIBLIOGRAPHY 57 APPENDIX 58 CHAPTER I INTRODUCTION I. -
The Way to Otranto: Gothic Elements
THE WAY TO OTRANTO: GOTHIC ELEMENTS IN EIGHTEENTH-CENTURY ENGLISH POETRY, 1717-1762 Vahe Saraoorian A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1970 ii ABSTRACT Although full-length studies have been written about the Gothic novel, no one has undertaken a similar study of poetry, which, if it may not be called "Gothic," surely contains Gothic elements. By examining Gothic elements in eighteenth-century poetry, we can trace through it the background to Horace Walpole's The Castle of Otranto, the first Gothic novel. The evolutionary aspect of the term "Gothic" itself in eighteenth-century criticism was pronounced, yet its various meanings were often related. To the early graveyard poets it was generally associated with the barbarous and uncouth, but to Walpole, writing in the second half of the century, the Gothic was also a source of inspiration and enlightenment. Nevertheless, the Gothic was most frequently associated with the supernatural. Gothic elements were used in the work of the leading eighteenth-century poets. Though an age not often thought remark able for its poetic expression, it was an age which clearly exploited the taste for Gothicism, Alexander Pope, Thomas Parnell, Edward Young, Robert Blair, Thomas and Joseph Warton, William Collins, Thomas Gray, and James Macpherson, the nine poets studied, all expressed notes of Gothicism in their poetry. Each poet con tributed to the rising taste for Gothicism. Alexander Pope, whose influence on Walpole was considerable, was the first poet of significance in the eighteenth century to write a "Gothic" poem. -
(The Father) in Wiesel's Night As Response to the Holocaust
humanities Article Father and God (the Father) in Wiesel’s Night as Response to the Holocaust Shannon Quigley Holocaust Studies, University of Haifa, Haifa 3498838, Israel; [email protected] Abstract: The proposed paper will begin by looking at the father–son relationship in Elie Wiesel’s Night. I will then briefly note the father–child relationship between God and Israel in the prophets of the Hebrew Bible. I will link the two challenges evident in Wiesel’s Night and in his continuing thought after the Shoah—the loss of family and the loss of God, his faith and/or his understanding of God—and note how these affect one another. After further assessing Wiesel’s father imagery in Night, I will note how Wiesel’s story, eventually making its way into the current version of Night, played a critical role in affecting the thought of Christian leaders and post-Holocaust Jewish–Christian reconciliation efforts. Keywords: Holocaust; Shoah; post-Holocaust; Elie Wiesel; Night; religiosity; Jewish–Christian relations; father–son 1. Introduction The Holocaust/Shoah has left behind countless afflicted hearts and souls who lived through its unrelenting fire, most of whose stories will never be known. But those that have shared their experiences have affected generations in the comprehension of what the Holocaust was and what unrelenting hate (of wicked people), alongside the unwillingness to stand for what was right (of “good” people who did nothing), can produce. Elie Wiesel’s Citation: Quigley, Shannon. 2021. Night is one of those stories. Father and God (the Father) in Wiesel’s memoir of his experience of the Holocaust through Night (first published in Wiesel’s Night as Response to French as La Nuit) gave multitudes a tiny window in. -
Blake's Portrayal of Women
ARTICLE Blake’s Portrayal of Women Anne K. Mellor Blake/An Illustrated Quarterly, Volume 16, Issue 3, Winter 1982/1983, pp. 148-155 PAGH 148 BLAKt. AS lU.USIRMlD QllARIh.Rl.) WINTHR 1982-83 Blake's Portrayal of Women BY ANNE K. MELLOR In Eden or Eternity, as Los says m Jerusalem, the human fallen world of Experience and try to redeem it. The more form divine is both male and female: courageous Oothoon lacks the power to break her lover's or her society's mind-forged manacles; thus she is, despite her When in Eternity Man converses with Man they enter liberated vision, an impotent revolutionary. Ololon, how- Into each others Bosom (which are Universes of delight) ever eager she is to give up her virginity and to unite with In mutual interchange, . Milton, remains a submissive Eve. And Jerusalem can only For Man cannot unite with Man but by their Emanations wait patiently for Albion to acknowledge her love and em- Which stand both Male & Female at the Gates of each Humanity brace her; her redemptive role in the poem is circumscribed (788:3-5, 9-10; E 244) by male choices and responses. Blake's attack on domineering women —on Rahab, Tirzah, Vala, Leutha, the Enitharmon Focusing on such lines as these, critics have hailed Blake as of Europe, and all those women whom he denounces as em- an advocate of androgyny, of a society in which there is total bodiments of the "Female Will" — is oven and repetitive. In a sexual equality. Irene Tayler has acclaimed Blake's revolu- typical passage, Los urges Albion to rebel against the power of tionary attack on the limited sex-roles of a patriarchal culture the female: and emphasized that in Blake's liberated Eternity, "there are no sexes, only Human Forms,"1 forms that experience no . -
Chapter One the Gothic and Its Revivals Yannis Kanarakis
Chapter One The Gothic and Its Revivals Yannis Kanarakis Image 1.1 Caspar David Friedrich, Cloister Cemetery in the Snow (1817-19). 1. Introduction: It’s … alive!!!!! It is very difficult to define the Gothic as a term. There have been, of course, many attempts to do so but none adequately embraces its full range which includes many seemingly contrasting works. The term has been associated with Northern European tribes, medieval ecclesiastical architecture, and figures like Dracula, Cthulhu and Batman; it has been linked with concepts like the sublime, the uncanny or the doppelganger; and it has been used to characterize novels like Wuthering Heights, The Beloved and American Psycho, music by artists like Marilyn Manson, Nick Cave or Siouxsie and the Banshees, movies like Psycho, the Silence of the Lambs and Twilight, or even contemporary series like Vampire Diaries, True Blood or American Horror Story, to name but a few. All these seemingly incongruent instances are indicative of a term with a long historical trajectory that has been constantly shifting as a response to various socio-cultural and economic factors. In this sense, we might argue that the Gothic defies any definitions precisely because it is itself a term that is vibrant and non static, a term that refuses to die out, and which, despite its long history, is still […] alive and kicking. 9 Yannis Kanarakis A closer look at the historical conditions that gave birth to the Gothic and resulted in its rise will help us establish some of its basic parameters which account for its adaptability, persistence and appeal as a cultural form throughout the ages. -
The Four Zoas Vala
THE FOUR ZOAS The torments of Love & Jealousy in The Death and Judgement of Albion the Ancient Man by William Blake 1797 Rest before Labour For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places. (Ephesians 6: 12; King James version) VALA Night the First The Song of the Aged Mother which shook the heavens with wrath Hearing the march of long resounding strong heroic Verse Marshalld in order for the day of Intellectual Battle Four Mighty Ones are in every Man; a Perfect Unity John XVII c. 21 & 22 & 23 v Cannot Exist. but from the Universal Brotherhood of Eden John I c. 14. v The Universal Man. To Whom be Glory Evermore Amen και. εςηνωςεν. ηµιν [What] are the Natures of those Living Creatures the Heavenly Father only [Knoweth] no Individual [Knoweth nor] Can know in all Eternity Los was the fourth immortal starry one, & in the Earth Of a bright Universe Empery attended day & night Days & nights of revolving joy, Urthona was his name In Eden; in the Auricular Nerves of Human life Which is the Earth of Eden, he his Emanations propagated Fairies of Albion afterwards Gods of the Heathen, Daughter of Beulah Sing His fall into Division & his Resurrection to Unity His fall into the Generation of Decay & Death & his Regeneration by the Resurrection from the dead Begin with Tharmas Parent power. darkning in the West Lost! Lost! Lost! are my Emanations Enion O Enion We are become a Victim to the Living We hide in secret I have hidden Jerusalem in Silent Contrition O Pity Me I will build thee a Labyrinth also O pity me O Enion Why hast thou taken sweet Jerusalem from my inmost Soul Let her Lay secret in the Soft recess of darkness & silence It is not Love I bear to [Jerusalem] It is Pity She hath taken refuge in my bosom & I cannot cast her out.