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Common Sayings and Expressions in Kafka Hartmut Binder
Document generated on 09/25/2021 10:25 p.m. TTR Traduction, terminologie, re?daction Common Sayings and Expressions in Kafka Hartmut Binder Kafka pluriel : réécriture et traduction Volume 5, Number 2, 2e semestre 1992 URI: https://id.erudit.org/iderudit/037123ar DOI: https://doi.org/10.7202/037123ar See table of contents Publisher(s) Association canadienne de traductologie ISSN 0835-8443 (print) 1708-2188 (digital) Explore this journal Cite this article Binder, H. (1992). Common Sayings and Expressions in Kafka. TTR, 5(2), 41–105. https://doi.org/10.7202/037123ar Tous droits réservés © TTR: traduction, terminologie, rédaction — Les auteurs, This document is protected by copyright law. Use of the services of Érudit 1992 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Common Sayings and Expressions in Kafka Hartmut Binder Translation by Iris and Donald Bruce, University of Alberta "Bild, nur Büd"1 [Images, only images] Proverbial sayings are pictorially formed verbal phrases2 whose wording, as it has been handed down, is relatively fixed and whose meaning is different from the sum of its constituent parts. As compound expressions, they are to be distinguished from verbal metaphors; as syntactically dependant constructs, which gain ethical meaning and the status of objects only through their embedding in discursive relationships, they are to be differentiated from proverbs. -
Czech Language and Literature Peter Zusi
chapter 17 Czech Language and Literature Peter Zusi Recent years have seen a certain tendency to refer to Kafka as a ‘Czech’ author – a curious designation for a writer whose literary works, without exception, are composed in German. As the preceding chapter describes, Kafka indeed lived most of his life in a city where Czech language and society gradually came to predominate over the German-speaking minor- ity, and Kafka – a native German-speaker – adapted deftly to this changing social landscape. Referring to Kafka as Czech, however, is inaccurate, explicable perhaps only as an attempt to counterbalance a contrasting simplification of his complicated biography: the marked tendency within Kafka scholarship to investigate his work exclusively in the context of German, Austrian or Prague-German literary history. The Czech socio-cultural impulses that surrounded Kafka in his native Prague have primarily figured in Kafka scholarship through sociological sketches portraying ethnic animosity, lack of communication and, at times, open violence between the two largest lin- guistic communities in the city. These historical realities have given rise to the persistent image of a ‘dividing wall’ between the Czech- and German- speaking inhabitants of Prague, with the two populations reading different newspapers, attending separate cultural institutions and congregating in segregated social venues. This image of mutual indifference or antagonism has often made the question of Kafka’s relation to Czech language and cul- ture appear peripheral. Yet confronting the perplexing blend of proximity and distance, famil- iarity and resentment which characterized inter-linguistic and inter- cultural contact in Kafka’s Prague is a necessary challenge. -
Fin-De-Siècle Vienna and the Larger Central Europe 1900: the Experience of Prague's Intellectuals
Fin-de-siècle Vienna and the Larger Central Europe 1900: The Experience of Prague's Intellectuals Gary B. Cohen, University of Minnesota, Twin Cities The modernist breakthroughs in Viennese intellectual and artistic life around 1900 have attracted great interest over many decades. The remarkable concentration of innovative figures, the originality and significance of their work, the important personal connections among of them, and the apparent cultural fertility of the Viennese environment in that era have captured the attention of scholars and the educated public alike. Carl Schorske's masterful Fin-de-siecle Vienna, now some thirty-six years old, has introduced many readers to the intellectual and cultural world of Vienna and offered students a basic framework for understanding the foundations and patterns of some of the most important innovations. One must be careful, though, not to exaggerate the uniqueness of Vienna around 1900 or to see the city as the single most important cradle of twentieth-century modernism. We recognize that intellectuals and artists in Paris, Berlin, New York, Munich, Budapest, and other major European and North American cities were also breaking away from the nineteenth-century liberal rational synthesis in ways that had wide impact, engaging in their own secessions from established modes of thought and expression with the particular fields or disciplines involved and the exact timing of the revolts dependent on local circumstances. It is good to remember that for Schorske and others who have investigated particular cities in this or other eras of radical breakdown, examining intellectuals and artists in a single urban community has been a means to understand better the parallels and connections between activities in the various disciplines or genres and to identify the conditions, motivations, and impulses that were common to the 2 innovators in various fields. -
A Father, What For? in Connection with the Show “Lettre Au
Document generated on 09/26/2021 9:45 a.m. Sens public A Father, What for? In connection with the show “Lettre au père” of Jean-Yves Ruf, according to the text of Franz Kafka "Dearest Father" Gérard Wormser, Bernard Lahire and Christine Castelain-Meunier Repenser le numérique au 21ème siècle Article abstract 2014 Can the young man of today visualize the impossible dialogue of Kafka with his father? The evolution of the society has questioned the father's long time role URI: https://id.erudit.org/iderudit/1052427ar of supervision and authority. However, does that not open up a restructuring DOI: https://doi.org/10.7202/1052427ar of his figure? The depth of the father's influence is far-reaching. The English paediatrician and psychoanalyst Donald W. Winnicott said, “He can become a See table of contents maternal substitute for infants, providing child care from the ages of birth to two years as is maternity care”. Paternal love and everyday father/child relationship has a critical role in the development of early childhood. However, is this structuring enough? Does this not open up an era lacking references? Publisher(s) Today, what is the father's place at a time of contemporary changes in family Département des littératures de langue française life? ISSN 2104-3272 (digital) Explore this journal Cite this document Wormser, G., Lahire, B. & Castelain-Meunier, C. (2014). A Father, What for? In connection with the show “Lettre au père” of Jean-Yves Ruf, according to the text of Franz Kafka "Dearest Father". Sens public. https://doi.org/10.7202/1052427ar Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International This document is protected by copyright law. -
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. -
Winning Fellowship Proposals: Predissertation Fellowship Proposals
SCHOLARLY PURSUITS: A GUIDE TO PROFESSIONAL DEVELOPMENT DURING THE GRADUATE YEARS Seventh Edition by Cynthia Verba A publication of the Graduate School of Arts and Sciences Harvard University SCHOLARLY PURSUITS: A GUIDE TO PROFESSIONAL DEVELOPMENT DURING THE GRADUATE YEARS SEVENTH EDITION WITH SAMPLE APPLICATION ESSAYS, FELLOWSHIP PROPOSALS, CURRICULUM VITAE AND COVER LETTERS FROM CANDIDATES IN THE GRADUATE SCHOOL OF ARTS AND SCIENCES OF HARVARD UNIVERSITY by Cynthia Verba A Publication of the Graduate School of Arts and Sciences Very special gratitude goes to all the graduate students and PhD’s who shared so generously about their experiences in academe, without whom this booklet could not have been written. Copyright © 2005 by the President & Fellows of Harvard University ABOUT THE AUTHOR Cynthia Verba has been serving as Director of Fellowships in the Graduate School of Arts and Sciences since 1986. Prior to that, she was Associate Director at Harvard’s Office of Career Services, with responsibility for overseeing academic and nonacademic career services for graduate students and PhDs. Her work at Harvard in the area of professional development for PhDs began in 1978. She holds a PhD in musicology from the University of Chicago, and continues to be active as a publishing scholar and teacher. She was a fellow at the Bunting Institute of Radcliffe College in 1987, and received a fellowship from the National Endowment of the Humanities in 1983 to further her research in musicology. She has also served as Chair of the Committee on Academic and Nonacademic Employment of the American Musicological Society from 1979-1985. She has been teaching courses in music history at the Harvard University Extension School since 1977. -
3. Grzegorz Gazda
Grzegorz Gazda The Final Journey of Franz Kafka's Sisters Through me into the city full of woe; Through me the message of eternal pain; Through me the passage where the lost souls go. Dante Alighieri, Divine Comedy 1 Magic Prague, esoteric Prague, Golden Prague. 2 The capital of the Czech Republic bears those names and nicknames not without reason. It is a truly extraordinary and fascinating city. A cultural palimpsest of texts written through the ages, texts that have been magnificently preserved until our times. "An old in folio of stone pages," as V. Nezval wrote. 3 A Slavic city with over a thousand years of history, but a city which at the same time, due to historical conditions, belongs rather to the culture of the West. The capital of the Czechs in which, however, an important part has always been played by foreign ethnic communities. But this arti- cle is no place to present historical panoramas and details. Our subject matter goes back to the turn of the 20 t h century, so let us stop at that. 1 Fragment of an inscription at the gates of hell which begins the third canto of the Divine Comedy (trans. C. Carson). This quote was used as a motto in the novel Kruta leta (1963, The Cruel Years ) by Frantisek Kafka, a Czech writer and literary scholar. 1 will speak more of him and his novel in this article. 2 Among numerous books dealing with the cultural and artistic history of this city, see, for example, K. Krejci, Praga. Legenda i rzeczywistość, Warszawa 1974, trans, from the Czech by C. -
The Trial As Text: Allegory, Myth and Symbol in the Adversarial Criminal Process - a Critique of the Role of the Public Defender and a Proposal for Reform, 32 Am
University of Florida Levin College of Law UF Law Scholarship Repository UF Law Faculty Publications Faculty Scholarship Spring 1995 The rT ial as Text: Allegory, Myth and Symbol in the Adversarial Criminal Process - A Critique of the Role of the Public Defender and a Proposal for Reform Kenneth B. Nunn University of Florida Levin College of Law, [email protected] Follow this and additional works at: http://scholarship.law.ufl.edu/facultypub Part of the Civil Procedure Commons Recommended Citation Kenneth B. Nunn, The Trial as Text: Allegory, Myth and Symbol in the Adversarial Criminal Process - A Critique of the Role of the Public Defender and a Proposal for Reform, 32 Am. Crim. L. Rev. 743 (1995), available at http://scholarship.law.ufl.edu/facultypub/761/ This Article is brought to you for free and open access by the Faculty Scholarship at UF Law Scholarship Repository. It has been accepted for inclusion in UF Law Faculty Publications by an authorized administrator of UF Law Scholarship Repository. For more information, please contact [email protected], [email protected]. THE TRIAL AS TEXT: ALLEGORY, MYTH AND SYMBOL IN THE ADVERSARIAL CRIMINAL PROCESS-A CRITIQUE OF THE ROLE OF THE PUBLIC DEFENDER AND A PROPOSAL FOR REFORM Kenneth B. Nunn* I. FORMAL RIGHTS AND THE PERSISTENCE OF MYTH ........ 747 II. SEMIOTICS AND THE CRIMINAL JUSTICE PROCESS .......... 754 III. CRIME AND THE CREATION OF THE CONSENSUS ............. 759 A. The Consensus ................................... 761 B. The Definition of Crime ............................ 764 IV. MAKING MEANING: THE DEPICTION OF CRIME IN POPULAR CULTURE ......................................... 768 A. Crime on Prime Time Television ..................... -
Prague's Public Space and Franz Kafka's Readings of Prague
MAREK NEKULA The Divided City: Prague’s Public Space and Franz Kafka’s Readings of Prague It is no surprise that the monuments on Prague’s squares, riverbanks, and hills reflect the national ideologies from which they emanated. In the nineteenth century, when the first memorial monuments were founded, middle-class civic society used them to present and pass on its values to viewers in public space, viewers who themselves may have been nationally indifferent. In nineteenth-century Prague, these values were above all national in character: for the Czech and German mid- dle classes, language-based nationalism dominated all other values; it determined the political programs of most Czech and German political parties, as well as more private choices, such as where parents sent their children to schools. Czech middle-class nationalists demanded that the Czech language and Czech people be given equal standing with the Germans, while German middle-class nationalists wanted to maintain the status quo. Both groups were becoming more and more interested in creating linguistically distinct spaces that would be dominated by the language and symbols of Czech and German nationalism. In Prague, public space became the staging ground for national discourse, where adherents of monolingual national ideologies competed with one another and attempted to control public opinion in various ways, including the domina- tion of public space. One of the ways to control and speak to the public was to properly stage ceremonial acts, for example the funerals of Václav Hanka, Karel Havlíček Borovský and Božena Němcová or the laying of the first stone of the Czech National Theater. -
FACT BOOK 2007-2008 Abridged Version
FACT BOOK 2007-2008 Abridged Version Tufts ⏐ University ⏐ Fact ⏐ Book⏐ 2007 ⏐ 2008 Published by the Office of Institutional Research & Evaluation © 2008 Trustees of Tufts College 2 Tufts ⏐ University ⏐ Fact ⏐ Book⏐ 2007 ⏐ 2008 Table of Contents Page Preface 5 University Vision Statement 6 HISTORY 7 Highlights of 2007 8 Aspects of Tufts University History 9 Presidents 18 ORGANIZATION 19 Trustees 20 Boards of Overseers 22 Administrative Committees 26 Administrative Organization 27 Department & Program Chairs 31 Faculty Committees 34 Student Government 37 ACADEMIC PROGRAMS & ACTIVITIES 40 Degree Programs & Colleges 41 Continuing Educational Programs 46 Academic Resource Centers 48 Religious Organizations 50 Cultural & Special Interest Programs & Organizations 50 Athletics 54 RESEARCH & EDUCATION CENTERS 55 Arts & Sciences 56 Engineering 59 Dental School 60 Medical School 62 Jean Mayer USDA HNRCA 67 Friedman School 68 The Fletcher School 70 Cummings School 72 University-Wide 75 STUDENTS 78 SAT Scores of Entering Class 79 Admissions Statistics 80 Characteristics of Entering Classes 83 Student Enrollment 86 Students by Program, Sex, & Ethnic Group 89 International Students 93 Enrollments in College of Special Studies 96 Enrollments in Summer Session 2007 96 Student-Faculty Ratio 97 Students by State / Territory 98 3 Tufts ⏐ University ⏐ Fact ⏐ Book⏐ 2007 ⏐ 2008 Table of Contents STUDENTS, continued Page Tuition Rates 100 Undergraduate Charges Relative to Comparison Group 100 Undergraduate Financial Income & Awards 101 Student Financial Aid -
The German Exile Literature and the Early Novels of Iris Mur- Doch
University of Szeged Faculty of Arts Doctoral Dissertation The German Exile Literature and the Early Novels of Iris Mur- doch Dávid Sándor Szőke Supervisors: Dr. Zoltán Kelemen Dr. Anna Kérchy 2021 Acknowledgements I have a great number of people to thank for their support throughout this thesis, whether this support has been academic, financial, or spiritual. First of all, I would like to thank my supervisors, Dr Zoltán Kelemen and Dr Anna Kérchy for their unending help, encouragement and faith in me during my research. Their knowledge about the Holocaust, 20th century English woman writers and minorities has given exceptional depth to my understanding of Murdoch, Steiner, Canetti and Adler. The eye-opening essays and lectures by Dr Peter Weber about the Romanian painter and Holocaust survivor Arnold Daghani’s time in England provided a genesis for this thesis. Had it not for him, I would not have thought about putting Murdoch’s thinking in the context of Cen- tral European refugee literature and culture during and after the Second World War. This thesis owes much to the 2017 Holocaust Conference in Szeged (19 October) and the 2019 International Holocaust Conference in Halle (14-16 November). I would like to express my gratitude to the March of the Living Hungary, the Holocaust Memorial Centre Budapest, the Memory Point of Hódmezővásárhely, the synagogues of Szeged and Hódmezővásárhely, Professor Werner Nell (Martin-Luther-Universität Halle-Wittenberg), Professor Thomas Bremer (Martin-Luther-Universität Halle-Wittenberg), Professor Sue Vice (University of Shef- field), and Dr Zoltán Kelemen for making these events possible. During my PhD, as part of the Erasmus ++ programme I spent an entire year at Martin- Luther-Universität Halle-Wittenberg, where I made a great deal of research about the German coming to terms with the past. -
UNIVERSITY of CALIFORNIA Los Angeles the Fabulist in the Fable
UNIVERSITY OF CALIFORNIA Los Angeles The Fabulist in the Fable Book A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Kristin Leilani Mann 2015 © Copyright by Kristin Leilani Mann 2015 ABSTRACT OF THE DISSERETATION The Fabulist in the Fable Book by Kristin Leilani Mann Doctor of Philosophy in Classics University of California, Los Angeles, 2015 Professor Kathryn Anne Morgan, Co-Chair Professor Amy Ellen Richlin, Co-Chair Four fable books survive from Greco-Roman antiquity: (1) the Life and Fables of Aesop (1st-2nd century CE), a collection of Greek prose fables; (2) Phaedrus’s Fabulae Aesopiae (1st century CE), a collection of Latin verse fables; (3) Babrius’s Μυθίαμβοι Αἰσώπειοι (1st century CE), a collection of Greek verse fables; and (4) Avianus’s Fabulae (4th-5th century CE), a collection of Latin verse fables. The thesis of this dissertation is that in each of these fable collections, the fabulist’s presence in the fable book – his biography, his self-characterizations, and his statements of purpose – combine to form a hermeneutic frame through which the fables may be interpreted. Such a frame is necessary because the fable genre is by nature multivalent: fables may be interpreted in many different ways, depending on their context. For embedded fables (that is, fables embedded in a larger narrative or speech), the fable’s immediate context influences the fable’s interpretation. In the fable books, however, there is no literary context; the ii fables stand as isolated narratives. The fabulist himself, I argue, takes the place of this missing context, and thus provides the reader with an interpretive framework.