Suggested List of Readings: Plato, the Republic; Thomas More, Utopia
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Alternate History – Alternate Memory: Counterfactual Literature in the Context of German Normalization
ALTERNATE HISTORY – ALTERNATE MEMORY: COUNTERFACTUAL LITERATURE IN THE CONTEXT OF GERMAN NORMALIZATION by GUIDO SCHENKEL M.A., Freie Universität Berlin, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (German Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2012 © Guido Schenkel, 2012 ABSTRACT This dissertation examines a variety of Alternate Histories of the Third Reich from the perspective of memory theory. The term ‘Alternate History’ describes a genre of literature that presents fictional accounts of historical developments which deviate from the known course of hi story. These allohistorical narratives are inherently presentist, meaning that their central question of “What If?” can harness the repertoire of collective memory in order to act as both a reflection of and a commentary on contemporary social and political conditions. Moreover, Alternate Histories can act as a form of counter-memory insofar as the counterfactual mode can be used to highlight marginalized historical events. This study investigates a specific manifestation of this process. Contrasted with American and British examples, the primary focus is the analysis of the discursive functions of German-language counterfactual literature in the context of German normalization. The category of normalization connects a variety of commemorative trends in postwar Germany aimed at overcoming the legacy of National Socialism and re-formulating a positive German national identity. The central hypothesis is that Alternate Histories can perform a unique task in this particular discursive setting. In the context of German normalization, counterfactual stories of the history of the Third Reich are capable of functioning as alternate memories, meaning that they effectively replace the memory of real events with fantasies that are better suited to serve as exculpatory narratives for the German collective. -
Choosing a Verb Tense the Present Tense Add –S to Make the Third Person Singular Present Tense
Choosing a Verb Tense The Present Tense Add –s to make the third person singular present tense. Since most academic, scientific, and technical writing is done in present tense, this is a very important reminder! The system permits Each operator controls Use the present tense --to show present states or conditions: The test program is ready. The bell sounds shrill. --to show natural laws or eternal truths: The earth rotates around the sun. Carbon and oxygen combine to form carbon dioxide. --to show habitual actions and repeated acts: We hold a staff meeting every Tuesday. The new file boots the computer. --to quote from or paraphrase published work: Nagamichi claims that calcium inhibits the reaction. MCI’s brochure reads “We are more efficient than AT&T.” --to define or explain procedures or terminology: The board fits in the lower right-hand slot. BOC stands for “British Oxygen Corporation.” --to show possible futures in time and conditional clauses: Your supervisor will recommend you for promotion if she likes your work. The minutes of the meeting will be circulated once I type them. The Past Tense Add the proper suffix (usually –ed) or infix to the verb stem to make the past tense. Consult a dictionary if you have questions about the correct past form. Use the past tense --for events that happened at a specific time in the past: The fax arrived at 4:59 PM. Kennedy died in 1963. --for repeated or habitual items which no longer happen: We used to have our department meetings on Tuesday. He smoked cigarettes constantly until his coronary. -
On Four Differences Between Two Metaphorical Expressions of Future
63 佐渡一邦 On Four Differences between Two Metaphorical Expressions of Future Kazukuni SADO* Abstract The aim of this paper is to clarify the differences between two types of expressions whose forms are in the present, but express a future event. The simple present and present in present are compared with regard to four perspectives: modality, human endeavor, present relevance, and proximity to the present. We may conclude from research that the simple present allows only modalization, is neutral to human endeavor, has much stronger relevance to the present moment and is neutral to the distance from the time of utterance, while the present in present allows both types of modality, expresses the results of human endeavor and although is less related to the present moment, is likely to describe the near future. 0. Introduction Most of us would accept that verb tenses in the English language are far from simple. The expression of a future event, for example, is not necessarily expressed in the future tense. The use of the present tense to express the future is well explained as “futurate” in Huddleston and Pullum (2002) and elaborated further in Sado (2016). However, we are of the view that English has a future tense and thus, it seems no longer appropriate to use the term, ”futurate” in our discussion as Sado (2016) did. Sado (2017:60) replaced the term with “present of futurity” to refer to all present tense forms that are employed to express events in the future. This discrepancy between form and meaning is explained by Huddleston and Pullum (2002) in terms of knowledge in the present like schedules of public transportation as thus illustrated in the example below from Kreidler (2014:111). -
Narrative Genres Narrative Text 1
Moorgate Primary School English: INTENT Grammar, Punctuation and Writing Genres Criteria for Fiction and Non-Fiction Genres This is a suggested overview for each genre, giving a list of grammar and punctuation. It is not a definitive list. It will depend on the age group as to what you will include or exclude. For each genre you will work on vocabulary such as prefixes, suffixes, antonyms, synonyms, homonyms, etc. Where possible, different sentence structures should be taught. This will be developed through the year and throughout the Key Stage. Narrative Genres Narrative text 1. Adventure and mystery stories – past tense First or third person 2. Myths and legends – past tense Inverted commas 3. Stories with historical settings – past tense Personification 4. Stories set in imaginary worlds – past or future tense Similes 5. Stories with issues and dilemmas – past tense Metaphors 6. Flashback – past and present tense Onomatopoeia 7. Traditional fairy story – past tense Noun phrases 8. Ghost story – past tense Different sentence openers (prepositions, adverbs, connectives, “- ing” words, adverbs, “-ed” words, similes) Synonyms Antonyms Specific nouns (proper) Semicolons to separate two sentences Colons to separate two sentences of equal weighting Informal and formal language Lists of three – adjectives and actions Indefinite pronouns Emotive language Non-Fiction Genres Explanation text Recount text Persuasive text Report text Play scripts Poetry text Discussion text Present tense (This includes genres Present tense Formal language Exclamation -
Construing the Elaborate Discourse of Thomas More's Utopia
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2006 Irony, rhetoric, and the portrayal of "no place": Construing the elaborate discourse of Thomas More's Utopia Davina Sun Padgett Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the English Language and Literature Commons, and the Rhetoric Commons Recommended Citation Padgett, Davina Sun, "Irony, rhetoric, and the portrayal of "no place": Construing the elaborate discourse of Thomas More's Utopia" (2006). Theses Digitization Project. 2879. https://scholarworks.lib.csusb.edu/etd-project/2879 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. IRONY, RHETORIC, AND THE PORTRAYAL OF "NO PLACE" CONSTRUING THE ELABORATE DISCOURSE OF THOMAS MORE'S UTOPIA A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Davina Sun Padgett June 2006 IRONY,'RHETORIC, AND THE PORTRAYAL OF "NO PLACE": CONSTRUING THE ELABORATE DISCOURSE OF THOMAS MORE'S UTOPIA A Thesis Presented to the Faculty of California State University, San Bernardino by Davina Sun Padgett June 2006 Approved by: Copyright 2006 Davina Sun Padgett ABSTRACT Since its publication in 1516, Thomas More's Utopia has provoked considerable discussion and debate. Readers have long grappled with the implications of this text in order to determine the extent to which More's imaginary island-nation is intended to be seen as a description of the ideal commonwealth. -
The Link Between Utopia and Nostalgia and Its Reflection on Literature Fattahi Seroreh Department of Persian Literature, Iran
28848 Fattahi Seroreh/ Elixir Literature 77 (2014) 28848-28856 Available online at www.elixirpublishers.com (Elixir International Journal) Literature Elixir Literature 77 (2014) 28848-28856 The link between Utopia and Nostalgia and its reflection on literature Fattahi Seroreh Department of Persian Literature, Iran. ARTICLE INFO ABSTRACT Article history: Nostalgia technically refers to human feeling of missing the past and those things she Received: 14 June 2014; has lost. Different factors contribute to this feeling, including the human's social and Received in revised form: political situation and, in general, hisher life situation. This nostalgic feeling, in itself, 19 November 2014; manifests in different forms, such as missing the past, extreme tendency to return to Accepted: 29 November 2014; homeland, the recourse to childhood and its regretful reminisce, myth, archaism, visualization of utopia. One of the important causes of human feeling of missing is Keywords dissatisfaction with the situation in which she lives, and this itself is the crucial and Memory, Dissatisfaction, fundamental cause of visualization of utopia in human mind. In this article, the Literature, Utopia. researchers have discussed the relationship between utopia and Nostalgia from the perspectives of the world's best thinkers and scientists. © 2014 Elixir All rights reserved. Introduction restless spirit seeking to achieve perfection in this study, we As we noted several factors contribute to the creation of a have examined this issue in detail. sense of nostalgia is one of the major causes of dissatisfaction Nostalgia and times of the status of the inventory that person's life. The NostalgiainFarsi, "nostalgia" is translated, the phrase that social discontent and suffering from it in the works of the great has recently entered the literature of psychology, but it is not thinkers of the world and Iran, has varied expression and many new and dates back to the early history of literature. -
Personal Information
CURRICULUM VITAE OHAD LANDESMAN PERSONAL INFORMATION Name: Ohad Landesman, Ph.D. Affiliation: The Steve Tisch School of Film and Television, Faculty of the Arts, Tel Aviv University Date and place of Birth: 12/11/1973, Israel. Home address: 44a Nachmani St., apt#7, Israel. E-mail Address: [email protected] Personal Websites: ohadlandesman.com; doctalk.co.il EDUCATION (2003-2013) New York University, New York, USA Cinema Studies Ph.D. Date Awarded: January 2013 (2001-2003) New York University, New York, USA Cinema Studies M.A. Date Awarded: January 2003 (1995-1999) Tel Aviv University, Tel Aviv, Israel Film and Television B.A. Date Awarded: May 1999 (1995-1999) Tel Aviv University, Tel Aviv, Israel Film and Television B.A. Date Awarded: May 1999 Title of Doctoral Reality Bytes: Reclaiming the Real in Digital Documentary Dissertation: Names of Supervisor: Prof. Richard Allen (New York University) 1 ACADEMIC EXPERIENCE (2011-Present) Tel Aviv University, Tel Aviv, Israel The Steve Tisch School of Film and Television Film Studies, Teaching Associate (2011-Present) Bezalel Academy of Arts and Design, Jerusalem, Israel Department of Visual and Material Culture Film Studies, Lecturer (Faculty Member) (2014-Present) Holon Institute of Technology, Holon, Israel Department of Visual Communications Design Film Studies, Lecturer (2009-2011) Minshar School of the Arts, Tel Aviv Department of Film Film Studies, Lecturer (2009-2011) Beit Berl College, Kfar Saba Department of Film Film Studies, Lecturer (2008) University of Michigan, Ann Arbor, -
The Futur Proche and the Futur Simple
page: taf4 1. futur proche vs. futur simple 2. differences between French and English French has two future tenses -- the futur proche and the futur simple. The futur proche is formed with the auxiliary aller which is followed by an infinitive (Je vais partir. 'I'm going to leave'). The futur simple doesn't have an auxiliary. Instead, the infinitive form becomes the stem to which future endings are added (Je partirai . 'I will leave'). For more details on the formation of these two future tenses, including irregular forms, see the related links: future: regular, future: irregular, and futur proche. futur proche vs. futur simple The two tenses are virtually interachangeable in most contexts, especially in spoken French. So what is the difference? In general, the two tenses differ in their level of formality; the future proche is used in more informal contexts and the simple future in more formal contexts. Thus, the futur proche is primarily used in speech and less frequently in writing. According to traditional grammars, the two tenses also differ in their relative distance to the present moment. The future proche, also called the futur immédiat, typically refers to a time very close to the present moment, i.e, the near or immediate future. The futur simple, on the other hand, is often used for events in the more distant future. Because the futur simple is associated with distant future events, it often takes on a detached, objective quality making it the preferred tense for future events that represent general truths. Qui vivra, verra. Whoever will live, will see. -
Tenses and Conjugation (Pdf)
Created by the Evergreen Writing Center Library 3407 867-6420 Tenses and Conjugation Using correct verb forms is crucial to communicating coherently. Understanding how to apply different tenses and properly conjugate verbs will give you the tools with which to craft clear, effective sentences. Conjugations A conjugation is a list of verb forms. It catalogues the person, number, tense, voice, and mood of a verb. Knowing how to conjugate verbs correctly will help you match verbs with their subjects, and give you a firmer grasp on how verbs function in different sentences. Here is a sample conjugation table: Present Tense, Active Voice, Indicative Mood: Jump Person Singular Plural 1st Person I jump we jump 2nd Person you jump you jump 3rd Person he/she/it jumps they jump Person: Person is divided into three categories (first, second, and third person), and tells the reader whether the subject is speaking, is spoken to, or is spoken about. Each person is expressed using different subjects: first person uses I or we; second person uses you; and third person uses he/she/it or they. Keep in mind that these words are not the only indicators of person; for example in the sentence “Shakespeare uses images of the divine in his sonnets to represent his own delusions of grandeur”, the verb uses is in the third person because Shakespeare could be replaced by he, an indicator of the third person. Number: Number refers to whether the verb is singular or plural. Tense: Tense tells the reader when the action of a verb takes place. -
Before Utopia: the Function of Sacrifice in Dystopian Narratives
Before Utopia: The Function of Sacrifice in Dystopian Narratives Maria Varsamopoulou Abstract The aim of this study is to illustrate the ways in which the practice and logic of sacrifice in dystopian narratives is anti-utopian. There is a dearth of research on the dystopian fiction, very little which investigates ethical issues and none which consider sacrificial ethics. In the first half of the thesis, the concept of dystopia is delineated against definitions of utopia, concrete utopia and utopian literature. In the second theoretical chapter, major and minor theories of sacrifice are examined for their normative bias in order to question their function in practice. Two important literary examples are read in light of a cross section of sacrifice and utopia: the influential story of Isaac's near sacrifice by Abraham in Genesis 22, and Ursule Molinaro's The New Moon with the Old Moon in her Arms, a literary depiction of the ancient Greek sacrificial ritual of the 'pharmakos'. The works chosen are canonical examples of the genre and in each a different aspect of sacrifice is foregrounded. In George Orwell's Nineteen Eighty-Four, the structure of sacrifice and the rigid hierarchy it imposes engenders perpetual violence. In Margaret Atwood's The Handmaid's Tale, women's sacrifice of reproductive freedom renders them commodities which cannot sustain friendships. In Octavia Butler's Kindred, the scapegoating of women slaves prevents vertical relationships as a result of the severing of mothers from their offspring. In the final chapter, Ursule Le Guin's 'The Ones who Walk Away from Ornelas' and Lois Lowry's The Giver foreground the cost of utopia based on a sacrificial ethics and problematises the relationship between self and community. -
Talking About the Future: Unsettled Truth and Assertion Isidora Stojanovic
Talking about the Future: Unsettled Truth and Assertion Isidora Stojanovic To cite this version: Isidora Stojanovic. Talking about the Future: Unsettled Truth and Assertion. Future Times, Future Tenses, pp.26 - 43, 2014. hal-02522820 HAL Id: hal-02522820 https://hal.archives-ouvertes.fr/hal-02522820 Submitted on 21 Sep 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Talking about the Future: Unsettled Truth and Assertion Isidora Stojanovic Institut Jean Nicod, ENS, CNRS, PSL Research Univers Prepublication version of Stojanovic, Isidora, "Talking about the Future: Settled Truth and Assertion", in De Brabanter, Philippe., Mikhail Kissine and Saghie Sharifzadeh (Eds.), Future Times, Future Tenses. Oxford: Oxford University Press (2014), pp. 26-43 Abstract Philosophers have long been concerned with the issue of whether the notions of truth and falsity apply or not to future contingents, i.e. to statements that express future events that have not been determined yet and thus may not happen. While there are several frameworks that (arguably) provide a satisfactory account of the truth conditions of future tensed sentences, not much has been done when it comes to providing the assertability conditions for such statements. -
A Rhetorical Analysis of Dystopian Film and the Occupy Movement Justin J
James Madison University JMU Scholarly Commons Masters Theses The Graduate School Spring 2015 Occupy the future: A rhetorical analysis of dystopian film and the Occupy movement Justin J. Grandinetti James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the American Film Studies Commons, American Popular Culture Commons, Digital Humanities Commons, Other Film and Media Studies Commons, Other Languages, Societies, and Cultures Commons, Rhetoric Commons, and the Visual Studies Commons Recommended Citation Grandinetti, Justin J., "Occupy the future: A rhetorical analysis of dystopian film and the Occupy movement" (2015). Masters Theses. 43. https://commons.lib.jmu.edu/master201019/43 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Occupy the Future: A Rhetorical Analysis of Dystopian Film and the Occupy Movement Justin Grandinetti A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Arts Writing, Rhetoric, and Technical Communication May 2015 Dedication Page This thesis is dedicated to the world’s revolutionaries and all the individuals working to make the planet a better place for future generations. ii Acknowledgements I’d like to thank a number of people for their assistance and support with this thesis project. First, a heartfelt thank you to my thesis chair, Dr. Jim Zimmerman, for always being there to make suggestions about my drafts, talk about ideas, and keep me on schedule.