Enlightenment Allegory: Adapting The
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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. -
BALOO's BUGLE Volume 14, Number 12 "Make No Small Plans
BALOO'S BUGLE Volume 14, Number 12 "Make no small plans. They have no magic to stir men's blood and probably will not themselves be realized." D. Burnham July 2008 Cub Scout Roundtable August 2008 Cub Scout Theme S'MORE SUMMER FUN Tiger Cub Activities Webelos Forester & Naturalist The Old Colony District of Southern NJ Council, my FOCUS district has attained the Chief’s Winner Circle for Cub Scout Roundtable Leaders’ Guide having a plus one in chartered units and more than plus The summer is not over yet! Let's have "S'More" summer one percent in registered youth membership compared fun in the outdoors this month. The weather is hot, but the to the registered youth membership of June 30 of one fun is cool as the Cub Scouts do all they can before school year ago. We actually registered a 2.2 % growth in starts in the Fall. Is a picnic, softball game, or hike through membership vs. last June 30. the forest part of your pack's plans?? Last week my Webelos Resident Camp was a roaring success. We had a >50% increase in Webelos from 40 to 65. And we were the first to use the brand new pool at Pine Hill Scout Reservation. Pretty soon we will be as famous as our gold course neighbor! We had two Bears from our pack that moved to Webelos June 1st for whom this was their first time away and they did great!! And my council has a new Scout Executive as of July 1, CORE VALUES 2008. -
Pleasures of the Imagination
Cambridge University Press 0521824273 - The Cambridge Companion to John Dryden - Edited by Steven N. Zwicker Excerpt More information 1 PLEASURES OF THE IMAGINATION © Cambridge University Press www.cambridge.org Cambridge University Press 0521824273 - The Cambridge Companion to John Dryden - Edited by Steven N. Zwicker Excerpt More information 1 STEVEN N. ZWICKER Composing a literary life: introduction John Dryden has come down to us through the exemplary practices of liter- ary editing: a large number of uniform volumes, learnedly prefaced, packed with history and explanatory notes. Who first thought of The Works of John Dryden? Not, I think, the poet himself. During his long writing life Dryden showed little interest in collecting or revising his work; neither he nor appar- ently anyone else kept his manuscripts; and Dryden seldom wrote of, or even seems to have imagined, a coherent and progressive literary career of the kind that was often on Spenser’s or Milton’s mind. Of course, the idea of collected works would have been obvious to Dryden from the humanist editions of classical authors, from The Works of Ben Jonson or the Shakespeare folios, or from collected editions even closer to hand – Cowley, Cleveland, and Suckling. Dryden himself contributed an elegy to John Oldham’s Remains, and he knew too of the CEuvres of Corneille and Racine. His shrewd pub- lisher Jacob Tonson made an effort at such collection in the 1690s, but the sustained impulse to collect “the works” began after Dryden’s death, first with Tonson’s various compilations of poems and plays, then at the end of the eighteenth century with Edmond Malone’s edition of Dryden’s prose. -
Thank You So Much for the Opportunity to Share with You This Morning from the Word of God
II Samuel 16:5-14 Dealin' with Dead Dogs Licking Valley Church of Christ January 31, 2021 Thank you so much for the opportunity to share with you this morning from the Word of God. I count it a privilege to know and minister alongside your minister, Gus. Gus and I started out in Bible college together back in 1975. He and his roommate, Jay lived on the 2nd floor right above Kevin Mack and me. We would communicate with each other - either by them stomping on the floor or us banging on the ceiling. That would signify that it was time to open our windows and to look up or down while conversing. I don't care to remember all of the gory details, but there was a time when I believe I indicated that I wanted to visit them up in their room. "Come on up!" They invited. Like a dummy, I reached up my hands through our window stretching up toward theirs. They actually agreed to my non-verbal request by pulling me up to their 2nd story dorm room and I ascended without the use of steps! Our relationship has toned down considerably over the years. I appreciate so much Gus's love for the Lord and His people. His ministry here has been an encouragement, not only to the folks of this congregation, but to so many others of us. I also appreciate your theme for the beginning of this year: Goliath Must Fall - Winning the Battle Against Your Giants. I've listened to a couple of sermons from the series and also watched this week's Louie Giglio episode that some of your small groups are using. -
Zechariah 9–14 and the Continuation of Zechariah During the Ptolemaic Period
Journal of Hebrew Scriptures Volume 13, Article 9 DOI:10.5508/jhs.2013.v13.a9 Zechariah 9–14 and the Continuation of Zechariah during the Ptolemaic Period HERVÉ GONZALEZ Articles in JHS are being indexed in the ATLA Religion Database, RAMBI, and BiBIL. Their abstracts appear in Religious and Theological Abstracts. The journal is archived by Library and Archives Canada and is accessible for consultation and research at the Electronic Collection site maintained by Library and Archives Canada. ISSN 1203L1542 http://www.jhsonline.org and http://purl.org/jhs ZECHARIAH 9–14 AND THE CONTINUATION OF ZECHARIAH DURING THE PTOLEMAIC PERIOD HERVÉ GONZALEZ UNIVERSITY OF LAUSANNE INTRODUCTION This article seeks to identify the sociohistorical factors that led to the addition of chs. 9–14 to the book of Zechariah.1 It accepts the classical scholarly hypothesis that Zech 1–8 and Zech 9–14 are of different origins and Zech 9–14 is the latest section of the book.2 Despite a significant consensus on this !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 The article presents the preliminary results of a larger work currently underway at the University of Lausanne regarding war in Zech 9–14. I am grateful to my colleagues Julia Rhyder and Jan Rückl for their helpful comments on previous versions of this article. 2 Scholars usually assume that Zech 1–8 was complete when chs. 9–14 were added to the book of Zechariah, and I will assume the sameT see for instance E. Bosshard and R. G. Kratz, “Maleachi im Zwölfprophetenbuch,” BN 52 (1990), 27–46 (41–45)T O. H. -
Notes on Zechariah 202 1 Edition Dr
Notes on Zechariah 202 1 Edition Dr. Thomas L. Constable TITLE AND WRITER The title of this book comes from its traditional writer, as is true of all the prophetical books of the Old Testament. The name "Zechariah" (lit. "Yahweh Remembers") was a common one among the Israelites, which identified at least 27 different individuals in the Old Testament, perhaps 30.1 It was an appropriate name for the writer of this book, because it explains that Yahweh remembers His chosen people, and His promises, and will be faithful to them. This Zechariah was the son of Berechiah, the son of Iddo (1:1, 7; cf. Ezra 5:1; 6:14; Neh. 12:4, 16). Zechariah, like Jeremiah and Ezekiel, was both a prophet and a priest. He was obviously familiar with priestly things (cf. ch. 3; 6:9-15; 9:8, 15; 14:16, 20, 21). Since he was a young man (Heb. na'ar) when he began prophesying (2:4), he was probably born in Babylonian captivity and returned to Palestine very early in life, in 536 B.C. with Zerubbabel and Joshua. Zechariah apparently survived Joshua, the high priest, since he became the head of his own division of priests in the days of Joiakim, the son of Joshua (Neh. 12:12, 16). Zechariah became a leading priest in the restoration community succeeding his grandfather (or ancestor), Iddo, who also returned from captivity in 536 B.C., as the leader of his priestly family (Neh. 12:4, 16). Zechariah's father, Berechiah (1:1, 7), evidently never became prominent. -
10 So Moses and Aaron Went to Pharaoh and Did Just As the Lord Commanded
Today’s Scripture Reading Exodus 6:14-7:13 14 These are the heads of their fathers' houses: the sons of Reuben, the firstborn of Israel: Hanoch, Pallu, Hezron, and Carmi; these are the clans of Reuben. 15 The sons of Simeon: Jemuel, Jamin, Ohad, Jachin, Zohar, and Shaul, the son of a Canaanite woman; these are the clans of Simeon. 16 These are the names of the sons of Levi according to their generations: Gershon, Kohath, and Merari, the years of the life of Levi being 137 years. 17 The sons of Gershon: Libni and Shimei, by their clans. 18 The sons of Kohath: Amram, Izhar, Hebron, and Uzziel, the years of the life of Kohath being 133 years. ! 6:14-7:13 19 The sons of Merari: Mahli and Mushi. These are the clans of the Levites according to their generations. 20 Amram took as his wife Jochebed his father's sister, and she bore him Aaron and Moses, the years of the life of Amram being 137 years. 21 The sons of Izhar: Korah, Nepheg, and Zichri. 22 The sons of Uzziel: Mishael, Elzaphan, and Sithri. 23 Aaron took as his wife Elisheba, the daughter of Amminadab and the sister of Nahshon, and she bore him Nadab, Abihu, Eleazar, and Ithamar. 24 The sons of Korah: Assir, Elkanah, and Abiasaph; these are the clans of the Korahites. ! 6:14-7:13 25 Eleazar, Aaron's son, took as his wife one of the daughters of Putiel, and she bore him Phinehas. These are the heads of the fathers' houses of the Levites by their clans. -
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. -
Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. -
PROGRAM NOTES Henry Purcell
PROGRAM NOTES by Phillip Huscher Henry Purcell - Suite from King Arthur Born sometime in 1659, place unknown. Died November 21, 1695, London, England. Suite from King Arthur Purcell composed his semi-opera King Arthur, with texts by John Dryden, in 1691. The first performance was given at the Dorset Garden Theatre in London in May of that year. The orchestra for this suite of instrumental excerpts consists of two oboes and english horn, two trumpets, timpani, and strings, with continuo provided by bassoon and harpsichord. Performance time is approximately twenty minutes. The Chicago Symphony Orchestra has performed music from Purcell's King Arthur (Trumpet Tune, "Ye blust'ring brethren of the skies," with Charles W. Clark as soloist, and Grand Dance: Chaconne) only once previously, on subscription concerts at the Auditorium Theatre on December 13 and 14, 1901, with Theodore Thomas conducting. Henry Purcell is the one composer who lived and worked before J. S. Bach who has found a place in the symphonic repertory. The Chicago Symphony played Purcell's music as early as 1901, when it programmed three selections from King Arthur on the first of its new "historical" programs designed to "illustrate the development of the orchestra and its literature, from the earliest times down to the present day." Purcell still stands at the very beginning of the modern orchestra's repertory, although he is best known to today's audiences for the cameo appearance his music makes in Benjamin Britten's twentieth- century classic, the Young Person's Guide to the Orchestra. Purcell is regularly described as the finest English composer before Edward Elgar, if not as the greatest English composer of all. -
Durham E-Theses
Durham E-Theses Studies in the heroic drama of John Dryden Blyth, Michael Graham How to cite: Blyth, Michael Graham (1978) Studies in the heroic drama of John Dryden, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8000/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Studies in the Heroic Drama of John Dryden Thesis submitted to the University of Durham for the degree of Ph.D. by Michael Graham Blyth The copyright of this thesis rests with the author No quotation from it should be published without his prior written consent and information derived from it should be acknowledged 2rsity of Durham Tiber 1978 Acknowledgements My sincere thanks go to the following for their invaluable assistance: Dr. Ray Selden, Durham University English Department, who has given a great deal of his time and critical energy to supervising my work in all stages of its development; Mr.