Item No. 1 a Landmark Exposition of the Principles of Republican
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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 TRENDS of STREAM of CONSCIOUSNESS TECHNIQUE in WILLIAM FAULKNER S NOVEL the SOUND and the FURY'' Chitra Yashwant Ga
AMIERJ Volume–VII, Issues– VII ISSN–2278-5655 Oct - Nov 2018 THE TRENDS OF STREAM OF CONSCIOUSNESS TECHNIQUE IN WILLIAM FAULKNER S NOVEL THE SOUND AND THE FURY’’ Chitra Yashwant Gaidhani Assistant Professor in English, G. E. Society RNC Arts, JDB Commerce and NSC Science College, Nashik Road, Tal. & Dist. Nashik, Maharashtra, India. Abstract: The term "Stream-of-Consciousness" signifies to a technique of narration. Prior to the twentieth century. In this technique an author would simply tell the reader what one of the characters was thinking? Stream-of-consciousness is a technique whereby the author writes as though inside the minds of the characters. Since the ordinary person's mind jumps from one event to another, stream-of- consciousness tries to capture this phenomenon in William Faulkner’s novel The Sound and Fury. This style of narration is also associate with the Modern novelist and story writers of the 20th century. The Sound and the Fury is a broadly significant work of literature. William Faulkner use of this technique Sound and Fury is probably the most successful and outstanding use that we have had. Faulkner has been admired for his ability to recreate the thought process of the human mind. In addition, it is viewed as crucial development in the stream-of-consciousness literary technique. According encyclopedia, in 1998, the Modern Library ranked The Sound and the Fury sixth on its list of the 100 best English-language novels of the 20th century. The present research focuses on stream of consciousness technique used by William Faulkner’s novel “The Sound and Fury”. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Signatures of the Possible: Writing and Political Rupture in the Archives of Industrial Unionism
SIGNATURES OF THE POSSIBLE: WRITING AND POLITICAL RUPTURE IN THE ARCHIVES OF INDUSTRIAL UNIONISM By MICHAEL VASTOLA A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2010 1 © 2010 Michael Vastola 2 To my parents, Janis and Anthony Vastola, and to my wife, Jessica Livingston This would not be possible without their love and almost pathological generosity 3 ACKNOWLEDGMENTS This dissertation has benefited from the advice and guidance I have received throughout my time at the University of Florida. My dissertation director Sidney Dobrin consistently encouraged experimentation and even audacity in my writing. My committee members supplemented that license to experiment with some brutal lessons during my exams. John Leavey coached me into a deeper understanding of what was at stake in the differences between the theories I was then ham-handedly trying to compare. Raul Sanchez compelled me to clarify my ideas and to more rigorously articulate their relationship to existing scholarship in my field. Those difficult lessons, as well as the valuable encouragement of my outside reader, Robert Hatch, were instrumental in shaping the document I would ultimately defend. The drafts of several of my chapters benefited significantly from the advice of my fellow traveler, Jeffry Ginger Rice, who was even more valuable in his capacity as a sounding board for my incessant complaining about academic conventions. But my wife, Jessica Livingston, was just as important an outlet for my frustrations. Without her encouragement and vocal insistence that I finish in a timely manner, this project would have surely stalled numerous times, and might have even been abandoned. -
Elements of Literature Characterization
LIT 101: Introduction to Literature Learning Unit 1: Handout Elements of Literature Plot Difference between plot and chronology; Plot is the sequence of events as presented by the author Pyramidal Plot Elements Exposition-introductory material in a work of fiction Creates tone and Gives setting Introduces characters and often conflict Supplies other facts necessary to understanding Usually at beginning of the work Conflict-struggle between two opposing forces Four kinds External Man vs. man Man vs. nature Man vs. society Internal Man vs. himself (Man vs. fate) Often more than one type in a work, but one will dominate Inciting incident: The catalyst: Event or force that gets the action in motion Rising action: Development and complications Climax: Moment of greatest emotional intensity Crisis: Typically in middle, but in modern works often located near the end Point where situation of the main character is certain to either worsen or improve Falling action All the events that follow the climax Dénouement French for “unknotting” - Final explanation/ unraveling of a plot (solution of a mystery, etc.) Key terms Foreshadowing - use of clues about the events to come Flashback - a section of a literary work that interrupts the sequence of events to relate an event from an earlier time Characterization Character - people, animals, etc., that perform the action in a story Flat characters - aka two-dimensional or wooden characters Characters that are not well developed, that are given only one or two characteristics Stereotypes - stock characters -
Eighteenth-Century Philosophy of Knowledge, Morals and Self As a Background to the Literature of the Period
Eighteenth-Century Philosophy of Knowledge, Morals and Self as a Background to the Literature of the Period Selected Bibliography Compiled and Commented by Birgitt Flohr I. Introduction. There is not much doubt that philosophy in the eighteenth century had an immense influence on the culture of its time. For example, the widely read journal The Spectator, edited by Addison and Steele, intended to bring philosophy out of the libraries into the coffee houses, to make philosophy part of the general cultural discourse. This might indicate that a proper understanding of the literature of this era depends on a proper knowledge of the philosophical discussions which constituted part of the intellectual and cultural life. However, the interaction between philosophy and literature is by no means a simple and direct one. Duke Maskell in his essay ‘Locke and Sterne, or Can Philosophy Influence Literature?’, Essays in Criticism23 (1973), 22-40, points out that, although there are certainly congruencies between philosophy and literature, they are not of the kind that permit us to discover ‘in’ a novel or poem the philosophical ideas it is ‘based on’ or ‘influenced by’. For him, literature is not a translation of philosophy into another medium. Therefore, this survey attempts to draw a picture of the full complexity of the interrelation of philosophy and literature, as seen by various researchers in this field. For this it is first of all important to identify the important philosophical texts in the eighteenth century, and to collect interpretations and criticism of them by scholars of philosophy. Hence, the first part of the following bibliography is devoted to this task. -
I Am Rooted, but I Flow': Virginia Woolf and 20Th Century Thought Emily Lauren Hanna Scripps College
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Keck Graduate Institute Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2012 'I Am Rooted, But I Flow': Virginia Woolf and 20th Century Thought Emily Lauren Hanna Scripps College Recommended Citation Hanna, Emily Lauren, "'I Am Rooted, But I Flow': Virginia Woolf and 20th Century Thought" (2012). Scripps Senior Theses. Paper 97. http://scholarship.claremont.edu/scripps_theses/97 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. ‘I AM ROOTED, BUT I FLOW’: VIRGINIA WOOLF AND 20 TH CENTURY THOUGHT by EMILY LAUREN HANNA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR MATZ PROFESSOR GREENE APRIL 20, 2012 1 ACKNOWLEDGEMENT It is a pleasure to thank those who made this thesis possible, including Professors Matz, Greene, Peavoy, and Wachtel, whose inspiration and guidance enabled me to develop an appreciation and understanding of the work of Virginia Woolf. I would also like to thank my friends, and above all, my family who helped foster my love of literature, and supported me from the initial stages of my project through its completion. Emily Hanna 2 Table of Contents Introduction 4 Chapter 1 – Conceptual Framework 7 Chapter 2 – Mrs. Dalloway 22 Chapter 3 – To the Lighthouse 34 Chapter 4 – The Waves 50 Conclusion 63 Works Cited 65 3 Introduction If life has a base that it stands upon, if it is a bowl that one fills and fills and fills – then my bowl without a doubt stands upon this memory. -
Few Americans in the 1790S Would Have Predicted That the Subject Of
AMERICAN NAVAL POLICY IN AN AGE OF ATLANTIC WARFARE: A CONSENSUS BROKEN AND REFORGED, 1783-1816 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jeffrey J. Seiken, M.A. * * * * * The Ohio State University 2007 Dissertation Committee: Approved by Professor John Guilmartin, Jr., Advisor Professor Margaret Newell _______________________ Professor Mark Grimsley Advisor History Graduate Program ABSTRACT In the 1780s, there was broad agreement among American revolutionaries like Thomas Jefferson, James Madison, and Alexander Hamilton about the need for a strong national navy. This consensus, however, collapsed as a result of the partisan strife of the 1790s. The Federalist Party embraced the strategic rationale laid out by naval boosters in the previous decade, namely that only a powerful, seagoing battle fleet offered a viable means of defending the nation's vulnerable ports and harbors. Federalists also believed a navy was necessary to protect America's burgeoning trade with overseas markets. Republicans did not dispute the desirability of the Federalist goals, but they disagreed sharply with their political opponents about the wisdom of depending on a navy to achieve these ends. In place of a navy, the Republicans with Jefferson and Madison at the lead championed an altogether different prescription for national security and commercial growth: economic coercion. The Federalists won most of the legislative confrontations of the 1790s. But their very success contributed to the party's decisive defeat in the election of 1800 and the abandonment of their plans to create a strong blue water navy. -
Karl Marx and the Iwma Revisited 299 Jürgen Herres
“Arise Ye Wretched of the Earth” <UN> Studies in Global Social History Editor Marcel van der Linden (International Institute of Social History, Amsterdam, The Netherlands) Editorial Board Sven Beckert (Harvard University, Cambridge, ma, usa) Dirk Hoerder (University of Arizona, Phoenix, ar, usa) Chitra Joshi (Indraprastha College, Delhi University, India) Amarjit Kaur (University of New England, Armidale, Australia) Barbara Weinstein (New York University, New York, ny, usa) volume 29 The titles published in this series are listed at brill.com/sgsh <UN> “Arise Ye Wretched of the Earth” The First International in a Global Perspective Edited by Fabrice Bensimon Quentin Deluermoz Jeanne Moisand leiden | boston <UN> This is an open access title distributed under the terms of the prevailing cc-by-nc License at the time of publication, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Cover illustration: Bannière de la Solidarité de Fayt (cover and back). Sources: Cornet Fidèle and Massart Théophile entries in Dictionnaire biographique du mouvement ouvrier en Belgique en ligne : maitron-en -ligne.univ-paris1.fr. Copyright : Bibliothèque et Archives de l’IEV – Brussels. Library of Congress Cataloging-in-Publication Data Names: Bensimon, Fabrice, editor. | Deluermoz, Quentin, editor. | Moisand, Jeanne, 1978- editor. Title: “Arise ye wretched of the earth” : the First International in a global perspective / edited by Fabrice Bensimon, Quentin Deluermoz, Jeanne Moisand. Description: Leiden ; Boston : Brill, [2018] | Series: Studies in global social history, issn 1874-6705 ; volume 29 | Includes bibliographical references and index. Identifiers: LCCN 2018002194 (print) | LCCN 2018004158 (ebook) | isbn 9789004335462 (E-book) | isbn 9789004335455 (hardback : alk. -
EXTRACTS from a HISTORICAL ENCYCLOPAEDIA of SPANISH ANARCHISM by Miguel Iñiguez (Translated by Paul Sharkey)
EXTRACTS from A HISTORICAL ENCYCLOPAEDIA of SPANISH ANARCHISM by Miguel Iñiguez (Translated by Paul Sharkey) http://www.christiebooks.com 1. CARBÓ CARBÓ, Eusebio. Palamós 1883-Mexico 1958. Coming from a family of federalists and anti-clericals, he was active in the Federalist Youth before going over to anarchism following his reading of Godwin, Proudhon, Kropotkin and Bakunin and observation of the world around him. A bit of a globe-trotter (even in his prison experience, seeing the inside of nearly sixty prisons from the age of 18 onwards) he lived for a long time in Valencia and travelled Europe and the Americas (he was especially familiar with Italy and knew many of the Italian anarchists, like Malatesta, Borghi and Fabbri, being much impressed by Malatesta). Early in the century (1905) he was close to the Avenir group and by the time the First World War came around he was an anarchist of some prestige. In 1915 he attended the congress in El Ferrol (representing Solidaridad Obrera), in 1918 he was at the Anarchist Conference in Barcelona, was present at the International Labour Congress in Geneva and the sixth congress of the F.N.A. in Valencia (where he was outstanding for his vehemence and hard line). His presence at the La Comedia congress in 1919 has been described as crucial: he drafted the anarchist manifesto, was on the working party on propaganda and opposed the line taken by Quintanilla. In the ensuing years he was a leading representative of the most anarchist tendency (and from 1921 stood out on account of his condemnation of the dictatorship of the proletariat). -
Prufrock's Stream of Consciousness AUTHOR: R
PRUFROCK'S STRE.AM 'OF CONSCIOUSNESS PRUFROCK t S STRE.AM OF CONSCIOUSNESS By R •.ANNE JAMIESON. B • .A • .A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of .Arts McMaster University August 1975 MASTER OF ARTS (1975) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Prufrock's Stream of consciousness AUTHOR: R. Anne Jamieson, B.A. (University of Wales) SUPERVISOR: Dr N. Rosenblood NUMBER OF PAGES: v, 92 ii ACKNOWLEDGEMENT I should like to thank my supervisor, Dr Norman Rosenblood, whose help and guidance in the preparation of this thesis were invaluable. iii T~BLE OF CONTENTS I INTRODUCTION 1 II : PRUFROCK: THE CONNECTIVE TISSUE 20 III PRUFROCK: THE THEMES .53 IV PRUFROCK: THE STRUCTURE 72 V CONCLUSION 86 BIBLIOGR~PHY 91 1v ...... ,.... ; EXPLAN.ATORY NOTE \'ihere an asterisk (*) appears in the script it denotes a point originally suggested by Dr Ng Rosenbloodo 'J ••' .: " . " ... v I INTRODUCTION Much T.S. Eliot criticism of the last decade or so has been moving toward the assertion that, in "The Love Song of J. ,Alfred Prufrock" and The ~'laste Land, and perhaps in most of his earlier poetry, Eliot's primary aim was an expl- oration of consciousness. And one critic, at least, has claimed that to achieve this end Eliot adapted the 'stream of-consciousness' techniques of modern fiction to poetry. Anne Bo1gan, in 1973, claimed that what The Waste Land "aspired to be" was "a neo-epic of the interior life 1 an epic, that is, mounted upon Ie pa;ysage int~rieur." And, further, she held that "what Eliot set out to write, and what The \Vasts Land was generically 'aiming to be' was an extended --- 2 -interior monologue." Ms Bolgan considers that not only were Eliot's ideas about consciousness born from his study of the philosophy of F.H. -
William Faulkner's Narrative Mode In
Humanities and Social Sciences Review, CD-ROM. ISSN: 2165-6258 :: 2(2):193–202 (2013) WILLIAM FAULKNER’S NARRATIVE MODE IN “THE SOUND AND THE FURY’’A STREAM OF CONSCIOUSNESS TECHNIQUE OR INTERIOR MONOLOGUE USED IN BENJY’S SECTION Tatiana Vepkhvadze International Black Sea University, Georgia The present research analyzes William Faulkner’s writing style in “The Sound and Fury”, it refers to the stream of consciousness technique called interior monologue. The term is borrowed from drama, where ‘monologue’ refers to the part in a play where an actor expresses his inner thoughts aloud to the audience. The interior monologue represents an attempt to transcribe a character’s thoughts, sensations and emotions. In order to faithfully represent the rhythm and flow of consciousness, the writer often disregards traditional syntax, punctuation and logical connections. He does not intervene to guide the reader or to impose narrative order on the often confused, and confusing, mental processes. Stream of consciousness is now widely used in modern fiction as a narrative method to reveal the character’s unspoken thoughts and feelings without having recourse to dialogue or description. Faulkner’s handling of stream of consciousness technique allows the FID narrator to shape a particular version of the character’s consciousness in terms of images, which need not be actual words or thoughts as the character expressed them. The use of interior monologue is common narrative mode of Benjy’s section that makes the text absolutely ambiguous for the reader. Benjy can’t speak and being a narrator of the first section ,we have an access to the plot of the story through his perceptions and feelings.