DOCSLIB.ORG

©Copyright 2014 Timothy Coombs Critical Conditions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
©Copyright 2014 Timothy Coombs Critical Conditions ©Copyright 2014 Timothy Coombs Critical Conditions: This Signature of the Wound in Franz Kafka’s Shorter Fiction Timothy Coombs A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Richard T. Gray, Chair Eric Ames Richard Block Program Authorized to Offer Degree: Germanics University of Washington Abstract Critical Conditions: The Signature of the Wound in Franz Kafka’s Shorter Fiction Timothy Coombs Chair of the Supervisory Committee: Byron W. and Alice L. Lockwood Professor in the Humanities Richard T. Gray This dissertation explores the significance of wounds in four short texts by Franz Kafka: “Ein Landarzt,” “Das Urteil,” Ein Bericht für eine Akademie,” and “Prometheus.” Rather than reduce the metaphor of the wound to biographical or psychoanalytic principles, two approaches that have predominated scholarship on these texts, this study examines how the wound promotes a critical undecidability in Kafka’s language: a condition in which body and body of text demand and defy “treatment” on several levels. Using a variety of rhetorical, narratological, and philological evidence, this dissertation argues how woundedness functions as a “critical condition” in these texts that paradoxically extends and enriches their interpretive life — an openness that resists closure of any form. Acknowledgements This dissertation would not have been possible without the continuous support and encouragement of Rick Gray, whose Graduate seminar on Kafka inspired me to first open this wound, but whose mentorship helped me finally close it. I extend a similar sense of gratitude to my reading committee, Eric Ames and Richard Block, who always expressed an interest in my work, as well as to my friends and colleagues in Germanics department, especially Jan Hengge, Jasmin Krakenberg, and Nathan Magnusson. I’m grateful to Jane Brown for teaching me how to write a shapely paragraph, and to Marshall Brown for his support at MLQ and for keeping my work on-track. A special acknowledgement goes to Neil Donahue, who steered me in the right direction and whose seminar on Erich Auerbach still informs my work over a decade later. I am fortunate to have received financial support from the Deutscher Akademischer Austauschdienst and from the Hanauer Endowment while writing and researching this study, especially at a time when funding seemed scarce. Finally, a heartfelt thank you goes out to my family for first exposing me to German culture and for believing in me even when I didn’t. But most of all, I am forever grateful to Michele, who not only endured many drafts of this dissertation, but whose love ensured that I would one day finish it. For Frank Gruber Table of Contents Introduction: The Text as a (W)hole ...............................................................................................1 1. The Openness of the Wound: Exposure in “Ein Landarzt” ......................................................18 2. The Father’s Scar: Closure in “Das Urteil” ..............................................................................49 3. Inflammatory Rhetoric: Injury and Compensation in “Ein Bericht für eine Akademie” .........80 4. Sore Subjects: Chronic Pain in “Prometheus” ........................................................................112 Bibliography ...............................................................................................................................144 Introduction The Text as a (W)hole Aber es tut gut, wenn das Gewissen breite Wunden bekommt, denn dadurch wird es empfindlicher für jeden Biß. Ich glaube, man sollte überhaupt nur solche Bücher lesen, die einen beißen und stechen. Wenn das Buch, das wir lesen, uns nicht mit einem Faustschlag auf den Schädel weckt, wozu lesen wir dann das Buch? Franz Kafka Briefe, 27 This study traces a pattern of woundedness in four shorter works by Franz Kafka — “Ein Landarzt” (1918), “Das Urteil” (1913), “Ein Bericht für eine Akademie” (1917), and “Prometheus” (1919) — in which representations of the body and the bodies of text that shape them become productively entangled. The wound emerges not only as a common theme in these texts, but more significantly, as a feature that comes to characterize each text as a whole—what could also be read, metaphorically speaking, as a kind of signifying hole: an opening, a contusion and profusion of signs. In this sense, the wound presents us with a unique point of entry for exploring what Peter Brooks has called the “semioticization of the body […] matched by a somatization of the story” (xii). It marks, that is, a privileged site in Kafka’s corpus where language not only inscribes the flesh, but where bodies also materialize specific attributes of 1 these texts: their struggles with exposure (“Ein Landarzt”) and closure (“Das Urteil”), for example; their spells of inflammation (“Ein Bericht für eine Akademie”) and recurring pain (“Prometheus”). Drawing on a variety of rhetorical, narratological, and philological evidence, this study interrogates, above all, how the wound conditions a particularly “critical” experience of reading, one that can be understood in terms of a pervasive sense of crisis: not only the alarming presence of a wounded body, imprinted by illness or violence, but also the dilemma of how to interpret that body, how to treat it hermeneutically and epistemologically — a condition that affects Kafka’s characters and readers alike. Praxis Derived from the Greek krisis (κρίσις), the term “critical” describes both the “turning point of a disease,” such as when a patient requires urgent care, as well as an important “judgment, decision or selection,” where we derive our modern understanding of criticism, and by extension, critical interpretation.1 The title Critical Conditions reflects these different, but nonetheless interrelated semantic fields, especially in cases where the somatic condition of Kafka’s characters coincides with the undecidability of his language. But a paradox arises when associating bodily openness with interpretive openness: if Kafka’s wound corresponds with a kind of semantic openness, as I suggest in the readings that follow, then it must also be subject to that openness. Which is to say: even openness is open to interpretation, and attempts to declare the wound as “open” risk closing it with the same defining gesture. The question, then, becomes 1 http://www.etymonline.com/index.php?term=crisis 2 one of critical care: how are we to treat this open wound without restricting it, without contaminating it in the very act of treatment? As I hope to demonstrate, this question plays a crucial role not only in how we construct and confront meaning in these texts, but also how paradox becomes a “critical condition” in itself. This is not necessarily a new observation, of course. Heinz Politzer was perhaps the first critic to examine the significance of paradox in Kafka’s writing — its capacity to decentralize and proliferate meaning, especially in the parables.2 Similarly, Gerhard Neumann described a “gleitendes Paradox” in Kafka’s fiction where “alle starre Begrifflichkeit ins Gleiten kommt” (“Umkehrung” 722), disorienting the reader and disrupting forms of conceptual thinking. But my contribution here is to understand the wound as an inherently paradoxical feature, a protean fixture (to use an appropriately contradictory image) that exists neither fully inside nor outside the wounded body, but undecidably between. I see the wound, in other words, not only as a lens for reading Kafka’s language, but also in terms of a paradoxicality that enriches and extends the interpretive life of his work — an openness, finally, that signals a series of conflicting prognoses: transparency and uncertainty, agency and helplessness, awareness and neglect. If my own language seems similarly conflicting at times, however, it is because a full- length study of the wound is necessarily complicated by the question of how to read and assign meaning to it. This is a dilemma that also besets Kafka’s country doctor. Just before uncovering his patient’s fatal wound, for example, he remarks that “Rezepte schreiben ist leicht, aber im übrigen sich mit den Leuten verständigen, ist schwer” (Drucke zu Lebzeiten 257). If anything, this statement acknowledges how questions of methodology arise both within, and as a consequence of, these texts — and moreover, how the wound, once it commands our attention, 2 See: Heinz Politzer’s Franz Kafka: Parable and Paradox. Ithaca, N.Y: Cornell University Press, 1966. 3 leverages a unique power in how we read these texts as a (w)hole. While I cannot claim to succeed in answering these questions — especially since, as Walter Benjamin has also noted, failure is a productive outcome in Kafka’s writing (Benjamin 27) — my reliance on wordplay and associative logic throughout this study advances its own implicit argument: namely, that the wound can only be approximated through language because it is, above all, language that inflicts the wounding. Words assail Kafka’s reader just as wounds afflict the body; they harbor an openness that proves at times equally liberating and restrictive, resolute but also tentative. The homophony of “whole” and “hole,” in this sense, articulates what, in hermeneutical terms, translates as a paradox of coherence and rupture, an aesthetic wholeness that Kafka achieves through a language of puncture, laceration, and limitation. In an interview conducted shortly before his death,
Load more

Recommended publications
  • Rhetorical Code Studies Revised Pages
    Revised Pages rhetorical code studies Revised Pages Sweetland Digital rhetoric collaborative Series Editors: Anne Ruggles Gere, University of Michigan Naomi Silver, University of Michigan The Sweetland Digital Rhetoric Collaborative Book Series publishes texts that investigate the multiliteracies of digitally mediated spaces both within academia as well as other contexts. Rhetorical Code Studies: Discovering Arguments in and around Code Kevin Brock Developing Writers in Higher Education: A Longitudinal Study Anne Ruggles Gere, Editor Sites of Translation: What Multilinguals Can Teach Us about Digital Writing and Rhetoric Laura Gonzales Rhizcomics: Rhetoric, Technology, and New Media Composition Jason Helms Making Space: Writing, Instruction, Infrastrucure, and Multiliteracies James P. Purdy and Dànielle Nicole DeVoss, Editors Digital Samaritans: Rhetorical Delivery and Engagement in the Digital Humanities Jim Ridolfo diGitalculturebooks, an imprint of the University of Michigan Press, is dedicated to publishing work in new media studies and the emerging field of digital humanities. Revised Pages Rhetorical Code Studies discovering arguments in and around code Kevin Brock University of Michigan Press ann arbor Revised Pages Copyright © 2019 by Kevin Brock Some rights reserved This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Note to users: A Creative Commons license is only valid when it is applied by the person or entity that holds rights to the licensed work. Works may contain components (e.g., photo- graphs, illustrations, or quotations) to which the rightsholder in the work cannot apply the license. It is ultimately your responsibility to independently evaluate the copyright status of any work or component part of a work you use, in light of your intended use.
    [Show full text]
  • Prometheus and Pygmalion." Critical Practice: Philosophy and Creativity
    McQuillan, Martin. "Prometheus and Pygmalion." Critical Practice: Philosophy and Creativity. London: Bloomsbury Academic, 2019. 113–137. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781472544391.0010>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 00:48 UTC. Copyright © Martin McQuillan 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 4 Prometheus and Pygmalion In the Metamorphoses, Ovid tells the stories of two possible models for the relation between philosophy and creativity.1 They are two of the foundational myths of our understanding of art and civilization, the tales of Prometheus and Pygmalion. In this chapter, we will look at both stories with a view to better understanding the paradoxes of critical practice, each tale providing us with a different point of entry to the complexities of artistic practice and philosophical thought. The story of Prometheus has its fullest elaboration in Hesiod’s Theogony and we will attend to this tale in the second half of the chapter.2 The myth of Pygmalion also has several versions including many neoclassical and more contemporary re-tellings.3 The stories represent two different paradigms for creation, although they contain overlapping elements. The case of Prometheus is a model for creation that emphases theft and punishment, while the story of Pygmalion offers us an account of creation based upon illusion and misidentification. The former is a tale of inscription and disruption, the latter myth concerns representation and misreading.
    [Show full text]
  • Complete Stories by Franz Kafka
    The Complete Stories by Franz Kafka 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. 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. The foreword by John Updike was originally published in The New Yorker.
    [Show full text]
  • The Origins of Beowulf Between Anglo-Saxon Tradition and Christian Latin Culture
    The Origins of Beowulf Between Anglo-Saxon Tradition and Christian Latin Culture Autor: Rubén Abellán García Tutor: Agustí Alemany Villamajó Universitat Autònoma de Barcelona 2019-2020 Index 1. Introduction .............................................................................................................. 2 1.1. The structure and transmission of Beowulf. ......................................................... 2 1.2. Literacy context during the creation period of Beowulf ....................................... 3 1.3. Historical Oral-formulaic and literacy research in Old studies ............................. 3 2. Latin Tradition in Beowulf ........................................................................................ 5 2.1. Latin syntax in Beowulf ...................................................................................... 5 2.2. Literary devices .................................................................................................. 6 2.2.1. Alliteration ...................................................................................................... 7 2.2.2. Formulas .......................................................................................................... 7 2.2.3. Compounding and Kennings ............................................................................ 8 2.2.4. Rhymes............................................................................................................ 8 2.2.5. Litotes and irony .............................................................................................
    [Show full text]
  • Laughing with Kafka After Promethean Shame
    PROBLEMI INTERNATIONAL,Laughing with vol. Kafka 2, no. 2,after 2018 Promethean © Society for Shame Theoretical Psychoanalysis Laughing with Kafka after Promethean Shame Jean-Michel Rabaté We have learned that Kafka’s main works deploy a fully-fledged political critique whose main weapon is derision.1 This use of laughter to satirize totalitarian regimes has been analyzed under the name of the “political grotesque” by Joseph Vogl. Here is what Vogl writes: From the terror of secret scenes of torture to childish officials, from the filth of the bureaucratic order to atavistic rituals of power runs a track of comedy that forever indicates the absence of reason, the element of the arbitrary in the execution of power and rule. How- ever, the element of the grotesque does not unmask and merely denounce. Rather it refers—as Foucault once pointed out—to the inevitability, the inescapability of precisely the grotesque, ridicu- lous, loony, or abject sides of power. Kafka’s “political grotesque” displays an unsystematic arbitrariness, which belongs to the func- tions of the apparatus itself. […] Kafka’s comedy turns against a diagnosis that conceives of the modernization of political power as 1 This essay is a condensed version of the second part of Kafka L.O.L., forthcoming from Quodlibet in 2018. In the first part, I address laughter in Kaf- ka’s works, showing that it takes its roots in the culture of a “comic grotesque” dominant in Expressionist German culture. Günther Anders’s groundbreaking book on Kafka then highlights the political dimensions of the work while criti- cizing Kafka’s Promethean nihilism.
    [Show full text]
  • Illuminating the Darkness: the Naturalistic Evolution of Gothicism in the Nineteenth-Century British Novel and Visual Art
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 8-2013 Illuminating the Darkness: The Naturalistic Evolution of Gothicism in the Nineteenth-Century British Novel and Visual Art Cameron Dodworth University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Literature in English, British Isles Commons Dodworth, Cameron, "Illuminating the Darkness: The Naturalistic Evolution of Gothicism in the Nineteenth- Century British Novel and Visual Art" (2013). Dissertations, Theses, and Student Research: Department of English. 79. https://digitalcommons.unl.edu/englishdiss/79 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. ILLUMINATING THE DARKNESS: THE NATURALISTIC EVOLUTION OF GOTHICISM IN THE NINETEENTH- CENTURY BRITISH NOVEL AND VISUAL ART by Cameron Dodworth A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English (Nineteenth-Century Studies) Under the Supervision of Professor Laura M. White Lincoln, Nebraska August, 2013 ILLUMINATING THE DARKNESS: THE NATURALISTIC EVOLUTION OF GOTHICISM IN THE NINETEENTH- CENTURY BRITISH NOVEL AND VISUAL ART Cameron Dodworth, Ph.D. University of Nebraska, 2013 Adviser: Laura White The British Gothic novel reached a level of very high popularity in the literary market of the late 1700s and the first two decades of the 1800s, but after that point in time the popularity of these types of publications dipped significantly.
    [Show full text]
  • Music and the Construction of Historical Narrative in 20Th and 21St Century African-American Literature
    1 Orientations in Time: Music and the Construction of Historical Narrative in 20th and 21st Century African-American Literature Leisl Sackschewsky A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Sonnet Retman, Chair Habiba Ibrahim Alys Weinbaum Program Authorized to Offer Degree: English 2 © Copyright 2016 Leisl Sackschewsky 3 University of Washington Abstract Orientations in Time: Music and the Construction of Historical Narrative in 20th and 21st Century African-American Literature Chair of Supervisory Committee: Associate Professor Sonnet Retman American Ethnic Studies This dissertation argues that the intersections between African-American literature and music have been influential in both the development of hip-hop aesthetics and, specifically, their communication of historical narrative. Challenging hip-hop historiographers that narrate the movement as the materialization of a “phantom aesthetic”, or a sociological, cultural, technological, and musical innovation of the last forty years, this dissertation asserts that hip-hop artists deploy distinctly literary techniques in their attempts to animate, write, rewrite, rupture, or reclaim the past for the present. Through an analysis of 20th and 21st century African-American literary engagements with black music, musical figures, scenes of musical performance, and what I call ‘musical-oral’, I hope to demonstrate how prose representations of music disrupt the linear narratives of
    [Show full text]
  • Franz Kafka a Hunger Artist
    D}d FRANZ KAFKA A HUNGER ARTIST & OTHER STORIES D}d D}d FRANZ KAFKA A HUNGER ARTIST & OTHER STORIES b Translated by Thor Polson D}d GUERNICA TORONTO • BUFFALO • BERKELEY • LANCASTER (U.K.) 2015 Copyright © 2015, Thor Polson and Guernica Editions Inc. All rights reserved. The use of any part of this publication, reproduced, transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise stored in a retrieval system, without the prior consent of the publisher is an infringement of the copyright law. Michael Mirolla, general editor David Moratto, interior & cover design Guernica Editions Inc. P.O. Box 76080, Abbey Market, Oakville, (ON), Canada L6M 3H5 2250 Military Road, Tonawanda, N.Y. 14150-6000 U.S.A. Distributors: University of Toronto Press Distribution, 5201 Dufferin Street, Toronto (ON), Canada M3H 5T8 Gazelle Book Services, White Cross Mills, High Town, Lancaster LA1 4XS U.K. First edition. Printed in Canada. Legal Deposit — Third Quarter Library of Congress Catalog Card Number: 2014934787 Library and Archives Canada Cataloguing in Publication Kafka, Franz, 1883-1924 [Short stories. English. Selections] A hunger artist & other stories / Franz Kafka ; translated by Thor Polson. (Essential translations series ; 20) Title on added title page, inverted: Poems and songs of love / Georg Mordechai Langer ; translated by Elana and Menachem Wolff Issued in print and electronic formats. Text mostly in English with some in Hebrew. ISBN 978-1-55071-867-6 (pbk.).--ISBN 978-1-55071-868-3 (epub).-- ISBN 978-1-55071-869-0 (mobi) 1. Kafka, Franz, 1883-1924--Translations into English. 2. Langer, Mordechai Georg, 1894-1943--Translations into English.
    [Show full text]
  • EXISTENTIAL CRISIS in FRANZ Kl~Fkl:T
    EXISTENTIAL CRISIS IN FRANZ Kl~FKl:t. Thesis submitted to the University ofNor~b ~'!e:n~al for the award of the Degree of Doctor of Ph.Ho§'Ophy. By Miss Rosy Chamling Department of English University of North Bengal Dist. Darjeeling-7340 13 West Bengal 2010 gt)l.IN'tO rroit<. I • NlVERSITY OF NORTH BENGAL P.O. NORTH BENGAL UNIVERSITY, HEAD Raja Rammohunpur, Dist. Da~eeling, DEPARTMENT OF ENGLISH West Bengal, India, PIN- 734013. Phone: (0353) 2776 350 Ref No .................................................... Dated .....?.J..~ ..9 . .7.: ... ............. 20. /.~. TO WHOM IT MAY CONCERN This is to certify that Miss Rosy Cham!ing has completed her Research Work on •• Existential Crisis in Franz Kafka". As the thesis bears the marks of originality and analytic thinking, I recommend its submission for evaluation . \i~?~] j' {'f- f ~ . I) t' ( r . ~ . s amanta .) u, o:;.?o"" Supervis~r & Head Dept. of English, NBU .. Contents Page No. Preface ......................................................................................... 1-vn Acknowledgements ...................................................................... viii L1st. ot~A'b o -rev1at1ons . ................................................................... 1x. Chapter- I Introduction................................................... 1 1 Chapter- II The Critical Scene ......................................... 32-52 Chapter- HI Authority and the Individual. ........................ 53-110 Chapter- IV Tragic Humanism in Kafka........................... 111-17 5 Chapter- V Realism
    [Show full text]
  • 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.
    [Show full text]
  • Green Revolution
    G REEN R EVOLUTION A GRICULTURAL AND S OCIAL C HANGE IN A N ORTH I NDIAN V ILLAGE Stanley A. Freed Curator Emeritus, Department of Anthropology American Museum of Natural History Ruth S. Freed Research Associate, Department of Anthropology American Museum of Natural History A NTHROPOLOGICAL PAPERS OF T HE A MERICAN M USEUM OF N ATURAL H ISTORY NUMBER 85, 312 PAGES, 63 FIGURES, 6 TABLES ISSUED DECEMBER 2002 ABSTRACT In the mid-1960s, rural India passed through a period of rapid technological and social change known as the Green Revolution. It was the transition from basically subsistence peasant farming at a low technological level to expen- sive commercial farming with modern technology. Five major sociotechno- logical innovations were basic to the Green Revolution: the development of high-yielding varieties of food grains, especially wheat and rice; land consoli- dation; private tubewell irrigation; mechanization; and the use of factory fer- tilizers and pesticides. New sources of energy, electricity and the internal com- bustion engine, which replaced bullock power, and the financial infrastructure that enabled farmers to buy the new equipment—tractors, tubewells, and threshers—represented a fundamental change. If the Green Revolution is taken in its broadest sense to include much higher educational levels and new employment opportunities in modern occupations, then the economy of Shanti Nagar, whose principal component is still agriculture, has been transformed. This work is the 11th in a series of monographs, all published in the Anthropological Papers of the American Museum of Natural History, devoted to the description and analysis of life in Shanti Nagar (a pseudonym), a village in the Union Territory of Delhi.
    [Show full text]
  • The Innocent Sufferer in the Book of Proverbs
    FULLER THEOLOGICAL SEMINARY THE INNOCENT SUFFERER IN THE BOOK OF PROVERBS A Dissertation submitted to the Faculty of the School of Theology Fuller Theological Seminary in partial fulfillment of the requirements for the degree of Doctor of Philosophy BY DANIEL P. BRICKER PASADENA, CALIFORNIA MAY 1998 Copyright 1998 by Daniel P. Bricker All Rights Reserved Cited with permission by Ted Hildebrandt Report any errors to [email protected] Center for Advanced Theological Studies School of Theology, Fuller Theological Seminary Dissertation Approval Sheet This dissertation entitled The Innocent Sufferer in the Book of Proverbs written by Daniel P. Bricker and submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy has been awarded by the Faculty of Fuller Theological Seminary upon the recommendation of the following readers: __________________ Ronald Youngblood __________________ Frederic William Bush ___________________ Duane Garrett 5/27/98 Date Acknowledgments It is difficult for me to thank everyone who deserves credit. My friends and family members deserve recognition for the role they played in offering unswerving support. First on the list are my parents, Paul and Therese Bricker of Sherwood, Arkansas. They provided me with support in many ways, and I can never repay them for all they have done for me, both in relation to this program and in almost every other area of my life as well. Then I would like to thank all my friends who are far too numerous to mention by name. I would not have made it without their prayers and encouragement. I must make special mention of the late Dr.
    [Show full text]