Memory, Identity, and Allegory in the Age of the American Empire
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Pride and Sexual Friendship: the Battle of the Sexes in Nietzsche's Post-Democratic World
PRIDE AND SEXUAL FRIENDSHIP: THE BATTLE OF THE SEXES IN NIETZSCHE’S POST-DEMOCRATIC WORLD Lisa Fleck Uhlir Yancy, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Steven Forde, Major Professor Ken Godwin, Committee Member Richard Ruderman, Committee Member Milan Reban, Committee Member James Meernik, Chair of the Department of Political Science Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Yancy, Lisa Fleck Uhlir, Pride and sexual friendship: The battle of the sexes in Nietzsche’s post-democratic world. Doctor of Philosophy (Political Science), August 2008, 191 pp., bibliography of 227 titles. This dissertation addresses an ignored [partly for its controversial nature] aspect of Nietzschean philosophy: that of the role of modern woman in the creation of a future horizon. Details of the effects of the Enlightenment, Christianity and democracy upon society are discussed, as well as effects on the individual, particularly woman. After this forward look at the changes anticipated by Nietzsche, the traditional roles of woman as the eternal feminine, wife and mother are debated. An argument for the necessity of a continuation of the battle of the sexes, and the struggle among men and women in a context of sexual love and friendship is given. This mutual affirmation must occur through the motivation of pride and not vanity. In conclusion, I argue that one possible avenue for change is a Nietzschean call for a modern revaluation of values by noble woman in conjugation with her warrior scholar to bring about the elevation of mankind. -
Socialist Fairy Tales, Fables, and Allegories from Great Britain
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. ■ Introduction In 1974, I visited the mining area of South Wales to make a short educational radio programme about the nationalization of the mines, which took place under the Labour government of 1945– 50. One miner and political activist, Chris Evans, gave me a long interview ranging across the history of locality, mining, work, and his hopes for a socialist future. In describing the nature of life and work, he moved into recitation mode and said: I go to work, to earn money to buy bread to build up my strength, to go to work to earn money to buy bread to build up my strength to go to work . We laughed wryly. I enjoyed the way in which he had reduced the whole cycle of life and work into one rhythmic account. In literary terms, it turns the intricate interactions of existence into emblems, single vignettes that flow one to the other, contrasting with each other. It is, then, a particular kind of storytelling used with the in- tent of revealing or alerting a reader or listener to what the speaker thinks is an unsatisfactory state of affairs. The fact that the story doesn’t end with a conclusion hits the button because through its never- ending form (rather than through words themselves) it re- veals the folly, drudgery, and wrongness of what is being critiqued. 1 For general queries, contact [email protected] © Copyright, Princeton University Press. -
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. -
2014 Festival Catalog
welcome For many years, we have worked together to build places for exploring the erotic, for meeting Eros, within ourselves and others. And we have seen the transformation that happens when people are allowed (encouraged) to encounter and Reveal true, authentic selves. We have built places that not only tolerate who we really are, but go further and accept who we are. And go further even, and celebrate our true essence. How can we know, really know, who we are if we keep so much hidden? How can we move freely, heartily through life while carrying the burdens of “unspeakable” secrets? We cannot fully love and profoundly affect our world, until we have met our real selves. And so, we offer Reveal as a promise and an invitation. Let us show you who we are, and perhaps you will reveal yourselves to us, too. We would be honored. Through art, let us reveal to you some possibilities. Let our artists lay a welcome mat; come explore–the light & dark, the soft & hard, the profane & profound. Stare, gawk, study, giggle. Stay as long as you dare, dare yourself to stay longer–past comfort, and back again. We bring you Seattle Erotic Art Festival to use as your bridge to authentic selves. Reveal. Because Eros’s love is in you, and we want you to know it. Through art, let us meet each other, and ourselves. With love and honor, Sophia Iannicelli and Leila Anasazi Seattle Erotic Art Festival 2014 ii juried exhibition juried exhibition The Festival is known worldwide for its comprehensive collection of international fine art celebrating the diversity of human sexual expression. -
Chaucer and Bawdy
Chaucer and Bawdy G. R. Simes RANCE. Had you committed the act you wouldn't now be facing the charge. PRENTICE. I couldn't commit the act. I'm a heterosexual. RANCE. I wish you wouldn't use these Chaucerian words. It's most confusing. Joe Onon, What the Butler Saw (1969), p. 55. The reputation of a medieval poet is such that a successful dramatist of the 1960s could rely on the mere mention of his name to convey to the audience of the play the ideas of naughtiness and bawdy. Presumably the expansion of senior-secondary and tertiary education after World War II, the gradual relaxation of sexual mores, and the ready availability of a lively translation of the Canterbury Tales had all been factors_ that contributed to a popular dissemination of Chaucer's reputation for bawdiness. If that is so, it occurred in the absence of scholarly activity and interest in the topic. It is true that Chaucer shares with Shakespeare the singular honour of having a book devoted to his bawdy; yet that book was published as recently as 1972 and, modelling itself on Partridge's pioneering work on Shakespeare, takes the form of discursive glosses, apart from a brief, conceptually uncritical introduction. I In general, before the later 1960s, while many medievalists privately took pleasure in Chaucer's treatment of sexual and excretory matters, they did not write upon this aspect of his work with the same unembarrassed candour that the poet himself had shown. Among general readers this aspect of Chaucer, and to an extent Chaucer's very name, was very often an occasion for sniggering. -
Eroticism of Space
Oz Volume 30 Article 2 1-1-2008 Eroticism of Space Juhani Pallasmaa Follow this and additional works at: https://newprairiepress.org/oz This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Pallasmaa, Juhani (2008) "Eroticism of Space," Oz: Vol. 30. https://doi.org/10.4148/2378-5853.1451 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Oz by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Eroticism of Space Juhani Pallasmaa of literary and scholarly studies since Hypnerotomachia Poliphili (1499), an illustrated amalgamation of a dream-like love poem and a treatise of the secrets of ancient architec- ture, attributed to the Franciscan friar Francesco Colonna (1433–1527). Hypernerotomachia is a love story disguised as an architectural treatise in which architecture and its elements stand for the desired body of the lover. In fact, the professionalist precision of the architectural descriptions in the book has given rise to speculations that the real writer would be no one less than Leon Battista Alberti. In mid-eighteenth century France the petites maisons, resi- dences secondaires, or gardens and garden pavilions were Little House (La Petite Maison, 1758)1 by Jean-François de Bastide develops the idea of architecture as a deliberately- conceived vehicle for erotic arousal and sexual seduction. and an architectural treatise. Like Little House is assumed to be a collaboration between expert that is suspected to have collaborated with Bastide is Jacques-Francois Blondel, the renowned architectural theoretician. -
Catastrophic Sexualities in Howard Barker's Theatre of Transgression
Catastrophic Sexualities in Howard Barker's Theatre of Transgression Karoline Gritzner Abstract The recent work of contemporary English dramatist and poet Howard Barker offers startling speculations on the theme of erotic sexuality and its interrelationship with death. This paper discusses Barker's "theatre of catastrophe" with reference to theories of eroticism (Bataille), seduction (Baudrillard), and aesthetics (Adorno). In Barker's sexually charged reading of Shakespeare's Hamlet in Gertrude the Cry; his erotic version of the Grimm brothers' fairytale Snow White in Knowledge and A Girl; and in his play for three actors and a corpse, Dead Hands, erotic desire and the sexual encounter are theatrically articulated as the subversive and destructive effects of consciousness. Key Words: theatre, drama, Howard Barker, eroticism, death, sexuality, aesthetics. Moments of profound sexual passion cause us - the couple who love - to implore a death, if only from the anxiety that nothing will ever again surpass the unearthly quality of this ecstasy. Is it not too perfect to be followed, except by its repetition? The dread of its failing to reappear ... the yearning for its reappearance ... perhaps the solitary reason for perpetuating ourselves? I In Howard Barker's plays sexual desire necessarily complicates life; it signifies a tragic encounter with the Other and catapults individuals into an awareness of their own limitations and possibilities. Barker calls his distinctive dramatic project a "theatre of catastrophe" in which characters embark upon ecstatic explorations of unlived life, involving the experience of pain and violation but also a recognition of beauty. In his most recent non-dramatic text Death, The One, and The Art of Theatre - a provocative collection of poetic meditations on the "art of theatre," love and death - Barker contemplates the aesthetic and spiritual quality of tragedy, which considers eroticism and death as its main subjects. -
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. -
(2) Sexuality, Obscenity, and Genre in the Merchant's Tale
The Merchant’s Tale (2) Sexuality, Obscenity, and Genre in the Merchant’s Tale: The Case of Fabliau Marie Turner An essay chapter from the Open Access Companion to the Canterbury Tales (September 2018) The Merchant’s Tale is often considered to be one of the masterpieces of the Canterbury Tales. A lowbrow story told in a high rhetorical style, the tale’s richly allusive fabric interweaves sources and analogues both classical and biblical, Latin, French, and Italian, as well as self-reflexively referencing other parts of the Canterbury Tales; in the Merchant’s Tale, perhaps, we can see the man behind the curtain, the poet Chaucer at work. But in addition to all this high style and erudition, the Merchant’s Tale also has something of a reputation for crude and obscene content: the elderly bachelor Januarie seeks out a much younger bride, May, and, after a series of perhaps less-than-erotic romps, introduces her to a purpose-built sex garden where he hopes they will engage in those acts which are “nat doon abedde” (MerT 2051). Throwing a wrench in the works is May, who naturally has fallen in love with Damyan, a young squire in her household, with whom she hatches a plan to cuckold her husband, now blind. May copies the key to the garden and lets Damyan inside, where he lies in wait in a convenient pear tree. When May declares herself to have a craving for pears, Januarie delightedly assumes that his wife is pregnant and rushes to assist her in climbing the tree in search of the fruit which will satisfy her desire. -
The Role of Morality and Physical Attractiveness of Athletes on Disposition Formations Firat Tuzunkan
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Role of Morality and Physical Attractiveness of Athletes on Disposition Formations Firat Tuzunkan Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION THE ROLE OF MORALITY AND PHYSICAL ATTRACTIVENESS OF ATHLETES ON DISPOSITION FORMATIONS By FIRAT TUZUNKAN A Dissertation submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2007 The members of the Committee approve the dissertation of Firat Tuzunkan defended on July 20, 2007. ______________________________ Arthur A. Raney Professor Directing Dissertation ______________________________ Charles Hofacker Outside Committee Member ______________________________ Gary Heald Committee Member ______________________________ Laura Arpan Committee Member Approved: ______________________________ Steven McDowell, Chair, Department of Communication ______________________________ John Mayo, Dean, College of Communication The Office of Graduate Studies has verified and approved the above named committee members. ii For my mom and dad, who made all this possible… iii ACKNOWLEDGEMENTS Probably the biggest lesson I learned throughout my PhD career is that big accomplishments cannot be achieved without the help and support of others. Similarly, this dissertation would not have been possible if it was not for the support of many great people around me. First and foremost, I would like to express my deepest gratitude to Dr. Arthur Raney for being such a great professor, mentor, and most importantly a friend throughout the years I have spent at FSU. Every time I came to your office stressed, depressed and lost, I left your office with a smile on my face and full of encouragement. -
Hyper-Eroticism As a Source of Spiritual and Material Agency in «Trilogía Sucia De La Habana»
CULTURA, LENGUAJE Y REPRESENTACIÓN / CULTURE, LANGUAGE AND REPRESENTATION ˙ ISSN 1697-7750 · VOL. XIX \ 2018, pp. 85-98 REVISTA DE ESTUDIOS CULTURALES DE LA UNIVERSITAT JAUME I / CULTURAL STUDIES JOURNAL OF UNIVERSITAT JAUME I DOI: HTTP://DX.DOI.ORG/10.6035/CLR.2018.19.5 Hyper-Eroticism as a Source of Spiritual and Material Agency in «Trilogía sucia de La Habana» El hipereroticismo como fuente de agentividad espiritual y material en Trilogía sucia de La Habana LILY MARTÍNEZ EVANGELISTA UNIVERSIDADE DE BRASÍLIA Artículo recibido el / Article received: 2017-10-11 Artículo aceptado el / Article accepted: 2018-03-22 ABSTRACT: In Trilogía sucia de La Habana, Pedro Juan Gutiérrez has defied traditional representations of the sexual body in Latin American literature by depicting eroticism as an agent of meditation and multiplication within an environment of deprivation. The author explores the diverse ways in which eroticism is a means by which to deconstruct subjectivity and provide a political critique against social oppression. The narrative is situated within a socialist Cuban context of surveillance during the Special Period and depicts the many acts of survival its citizens engage in on a daily basis amidst an economic crisis where basic products are scarce. With the absence of material goods, as well as certain political freedoms, the characters in the novel manifest their continuous desires by engaging in a hyper-production of eroticism as a source of power. While recounting personal stories of love and sex, the characters meditate on their social condition in addition to their own private desires. Ultimately, in accord with eroticism as a weapon of social change and critique, Pedro Juan Gutiérrez acknowledges the body traditionally dismissed in dominant Western thought and inscribes new representations where it can be beautiful while being impoverished, artistically tormented and imperfect. -
Eroticism in Theognis Josh C
University of Arkansas, Fayetteville ScholarWorks@UARK World Languages, Literatures and Cultures World Languages, Literatures and Cultures Undergraduate Honors Theses 5-2015 Eroticism in Theognis Josh C. Koerner University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/wllcuht Recommended Citation Koerner, Josh C., "Eroticism in Theognis" (2015). World Languages, Literatures and Cultures Undergraduate Honors Theses. 2. http://scholarworks.uark.edu/wllcuht/2 This Thesis is brought to you for free and open access by the World Languages, Literatures and Cultures at ScholarWorks@UARK. It has been accepted for inclusion in World Languages, Literatures and Cultures Undergraduate Honors Theses by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Eroticism in Theognis An Honors Thesis submitted in partial fulfillment of the requirements for Honors Studies in Classical Studies By: Joshua Koerner 2015 Classics J. William Fulbright College of Arts and Sciences The University of Arkansas Introduction and Background to Theognis 3 Background to Symposium 13 Eroticism in the Theognidean Corpus 25 Appendices 75 Bibliography 122 Acknowledgements 125 !2 of !125 Introduction and Background to Theognis Understanding masculinity and the way it self-defines is an integral part of understanding symposia as “masculine,” and using an elite context inherently includes in its discussion a greater degree of contrast between the self, or the community that identifies in a particular way, and the other. Further, given that sexuality is an integral component to the human experience, it is quite relevant to pursue the question of eroticism in a general context as well as the specific.