DOCSLIB.ORG

Carnival Time! : Wilson Harris and the Carnivalesque

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carnival Time! : Wilson Harris and the Carnivalesque I Carnival Time! Wilson Harris and the Carnivalesque A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Arts in English Literature in the University of Canterbury by Paul Mountfort University of Canterbury 1993 II Here we find .... chimeras (fantastic forms combining human, animal, and vegetable elements), comic devils, jugglers performing acrobatic tricks, masquerade figures and parodical scenes - that is, purely grotesque carnival themes. Mikhail Bakhtin, Rabelais and His World One lives in and out of Carnival time since each element that masks us sustains time as its original medium of sacrifice within creation. Not only that. Original medium of theatre. One is the other's veil of timely or untimely dust. Wilson Harris,Carnival Ill Contents: Abstract IV Introduction 1 I - Carnival's Passages 11 II - 'The Scene of the Infinite Rehearsal' 43 III - 'A Limbo Stage' 70 IV - 'The Harlequin's Cloak' 99 V - 'The Climax of Carnival' 124 Appendix One: A chronology of Wilson Harris's Novels 144 Bibliography 145 IV Abstract The aim of this thesis is to contribute to the growing appreciation of the importance of carnivalesque elements in the novels of Wilson Harris. Since all reading and criticism is partial, the introduction gives a brief summary of critical approaches to this aspect of the Harris's work. Building on the insights of these critics this study presents a short festive, folkloric and literary history of carnival from its origins, thus providing background to the celebration of the festival in the present-day Caribbean. Classic carnivalesque features are listed which, though suggestive rather than exhaustive, provide guiding criteria for the readings that follow. While not attempting a thorough-going exegesis of Harris's critical and philosophic writing - which reveal much about his understanding and usage of carnival - I finish my history of carnival with a brief exploration of his non­ fictional contributions to the subject. The following chapters divide Harris's work into four broad phases and undertake readings of a selection of his novels up to what can be regarded as their culmination or climax in the novel Carnival. Although the readings are essentially thematic, concerned above all with the writer's carnivalesque vision as conveyed in the novels, there are frequent references to his narrative techniques and this builds towards some tentative conclusions about Harris's innovations of form and the implications of this for the art of the novel. Paul Mountfort 1 Introduction The Anancy artist is the masquerading carnival figure par excellence. Joyce Jonas Caribbean carnival today (including the metropolitan celebrations spawned in such cities as New York, Toronto and London) is a multicultural ensemble, a mosaic of historic and innovative festival forms. Carnival's history resembles the course of a great river with many tributaries which has spilled into a 'callaloo of global dimensions' in the late- twentieth century, or a huge tree whose roots lie in pre-hist01y and whose branches are the myriad post-colonial variants of the festival. In its present day forms Caribbean carnival, with its hybridization of diverse elements, reflects the wider island and mainland national life of the region in which there is a mixing of belief and religious custom as varied as races - typically one finds devotees of Voodoo, Rastafarianism, Santeria, Obeah and Shango alongside those of Catholicism, Protestantism, Islam and Hinduism. The syncretism represented by the festival, then, however fraught its origins and convulsive its history exemplifies principals of cross-cultural fertilization in the development of the Caribbean. As a contributor to Caribbean Festival Arts comments: African slaves, repatriated slaves, and Chinese and East Indian indentured labourers brought to the island [Trinidad] cultural traditions that the European considered exotic, pagan and sub-human. Today these disparate traditions blend into Carnival, giving unity and identity to a country characterised in the past by racial tension, cultural bias and religious bigotry.1 In cultural and artistic terms, the so called 'creole aesthetic' of an assembly of diverse, Calypsonian elements present in carnival has a broad application and makes itself 2 felt in many spheres in contemporary Caribbean life. This is certainly true of creative fiction. Writers such as George Lamming, Earl Lovelace, Willi Chen, Rawli Gibbons, Paule Marshall, Derek Walcott and others have engaged carnival in their works as a symbol of the region's cultural constitution (with varying degrees of ambivalence), but the central figure both in terms of carnival as subject and the evolution of a new, camivalesquefonnfor the novel must be Wilson Harris.2 It is he who embraces carnival as a cross-cultural medium in its fullest potential. Michael Gilkes, in the first full length study of Harri.s's works, wrote that [a] new state of consciousness, a new and original growth in sensibility produced, as it were, by a genuine cross-fertilization of cultures and races, is the main theme of Wilson Harris's work. His novels illustrate what must be considered as perhaps the most remarkable and odginal aspect of West Indian writing: one in which the condition of cultural and racial admixture itself becomes the 'complex womb' of a new wholeness of vision. 3 A realization is now emerging amongst critics that carnival and the carnivalesque are central to this cross-ferilization and have evolved into a fundamental dimension of Rani.s's fiction over the course of his writing career. As a symbol of cross-cultural fertilization in the Caribbean, carnival is vital to both the material and the techniques Harris has developed in the workings of what he calls 'the cross-cultural imagination.' Carnival is both an explicit and implicit concern in many of his novels and of his writings as a whole. But before the question of what the distinguishing features of this aspect of Harris's work are is addressed, it is necessary to ask what is meant by carnival and the carnivalesque in the context of his fictions, and how does one set about reading them? Gilkes, in a recent critical work, quotes the Guyanese artist and writer Denis Williams as having written of Harris's writing in 1969: 'We shall need to forge an entirely new critical apparatus for assessing these works. So that right now it would be a bold man indeed who would attempt a comprehensive exegesis.' He notes that since then several 3 full length studies have appeared, but what is needed remains 'nothing less than a revolution in sensibility; a 'literacy of the imagination' to allow in reader and critic for an openness to language as vision rather than exclusive intellectual meaning. •4 I would like to address this in the present study by avoiding, as much as possible, the reductionist criteria which sometimes guide analysis and definition in criticism - to forego any attempt to trap the meaning of such terms as comedy, tragedy, sacrifice, representation, form, mask, masquerade, the grotesque, creativity, and carnival - and endeavour instead to build up a body of fundamental associations between carnival itself and elements which run throughout or evolve over the course of Harris's work . What I propose is to undertake a reading (or series of readings) of carnival and carnivalesque elements in some ten of Harris's novels, chronicling their development through four broad phases of his work.5 These readings seek not so much to present a linear argument leading up to an overwhelming conclusion - a technique of criticism Harris's fiction resists - but to discern salient features of carnival and follow certain threads in the tapestry of Harris's fictions in the process of evolution to their culmination in the most recent phase of his fictional writing, with the publication of the Carnival Trilogy. This study, therefore, should provide a frame-work for establishing what carnival is and what constitutes the carnivalesque and- allowing for the creative role of the reader in the capacity of a text to mean and the freedom of both (reader and text) - let the novels 'speak for themselves' as much as possible. The aim is to provide a catalogue or index of carnival elements in Harris's opus which, in many ways, epitomise the colourful content and innovative style and of his fiction. A brief look at the critical contributions to the subject to date will help to establish the nature of the field and show how these elements of Harris' s fiction have been read formerly. Rena Maes-Jelinek first recognised the importance of carnival in the development of Harris's work in an essay, "Carnival' and Creativity in Wilson HalTis's fiction' (1986). She identifies carnivalesque elements appearing with increasing frequency and deepening significance from Harris's earliest novel, Palace of the Peacock. 4 The penetration of masks to unravel deeply buried and unconscious residues of individual and historical experience; the need to trace and elucidate real motivations behind paradoxical or deceptive appearances; the presentation of characters associated with camival but also representative of the sharp contrasts to be found in poor and/or colonial societies: the King, the Clown, the nameless fool who identifies with the exploited or eclipsed majority, the Harlequin; the increasing self-relexivity which intensifies Harris's fusion of 'vision and idea', the metaphorical and the abstract; all come together and illustrate his notion of comedy represented in Camival. 6 Maes-Jelinek devotes most of her attention to Harris's 1985 novel Camival, though in acknowledging and briefly discussing the development of such features throughout Harris's works to their 'climax', as it were, she points to the scope which exists for a sustained reading of carnivalesque features across a series of his novels such as is undertaken in the present study.
Load more

Recommended publications
  • Circus Scam 1.9 0.5 UY Milford, Alison (Ls) Circu
    Author Title AR Book AR Interest Joyce, Melanie (Ls) Billy's Boy 1.6 0.5 MY Milford, Alison (Ls) Circus Scam 1.9 0.5 UY Milford, Alison (Ls) Circus Scam 1.9 0.5 UY Milford, Alison (Ls) Circus Scam 1.9 0.5 UY Pearson, Danny (Ls) Escape From The City 1.9 0.5 MY Pearson, Danny (Ls) Escape From The City 1.9 0.5 MY Pearson, Danny (Ls) Football Smash 1.9 0.5 MY Pearson, Danny (Ls) Football Smash 1.9 0.5 MY Pearson, Danny (Ls) Football Smash 1.9 0.5 MY Powell, Jillian (Ls) Cage Boy: Level 5 1.9 0.5 MY Gray, Kes Oi Goat!: World Book Day 2018 2 0.5 LY Hurn, Roger (Ls) Too Hot: Level 3 2 0.5 MY Thomas, Valerie Winnie Flies Again 2 0.5 LY Thomas, Valerie Winnie Flies Again 2 0.5 LY Adams, Spike T. (Ls) Evil Ink 2.1 0.5 UY Adams, Spike T. (Ls) Snap Kick 2.1 0.5 UY Clayton, David Hell-Ride Tonight! 2.1 0.5 MY Cullimore, Stan (Ls) Bubble Attack 2.1 0.5 UY Cullimore, Stan (Ls) Bubble Attack 2.1 0.5 UY Cullimore, Stan (Ls) Robert And The Werewolf 2.1 0.5 UY Cullimore, Stan (Ls) Robert And The Werewolf 2.1 0.5 UY Higson, Charlie Silverfin: The Graphic Novel 2.1 1 MY Lee, Janelle (Ls) Badu Boys Rule! 2.1 0.5 MY Orme, David Boffin Boy And The Emperor's Tomb 2.1 0.5 MY Powell, Jillian (Ls) Chip Boy 2.1 0.5 UY Tompsett, C.L.
    [Show full text]
  • Art of Wilson Harris
    THE ART OF WILSON HARRIS BY MMilON C. GILLILMD A DI.^SERTATIOi:! PRESENTED TO ItlE G.R.\DUATE COUNCII OE TEE UNIVERSITY OF FLORIDA IN PARTIAL FULFI1.LMENT OF THE REQUIREMENTS FOR THE DEGR.ee OF DOCTOR OF PHILOSOPHY LT^TIVERSITY OF FLORIDA 1982 Copyright 19B2 by Marion Charlotte Gilliland TABLE OF CONTENTS Abstract iv Introduction The Visionary Art of \vilson Harris 1 N otes 14 Part I Contexts of Vision Chapter 1 An Overview of the Fiction 17 Notes 35 Chapter 2 Wilson Harris in the West Indian Context 37 Notes 60 Chapter 3 The Role of Imaginaticn in Creativity 63 Notes 78 Chapter 4 Three Structuring Ideas in Wilson Harris's Fiction 81 Notes 115 Part II Visionary Texts Chapter 5 Companioas of the Day and Night 119 Note s ' 133 Chapter 6 Da Silva da Silva's Cultivated Wilderness , . 134 Notes 154 Chapter 7 Genesis of the Clowns 155 Notes c . 170 Chapter 8 The Tree of the Sun 171 Note 184 Appendix Three Interviews with Wilson Harris Synchrcnlcity 186 Shamanisiu 205 The Eye of the Scarecrow 227 Bibliography 244 Biographical Sketch 260 Xll Abstract of Dissertation Presented to the Graduate Council of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy THE ART OF WILSON HARRIS By Marion C. Gilliland December 1982 Chairman: Alistair M. Duckworth Major Department: English Wilson Harris, the Guyanese novelist, critic and poet, seeks to create new forms in the novel which will reflect his vision of the basic unity of man. This unity is free of cultural and racial ties, embodies a new state of consciousness, healed rather than divided, and is open to greater possibilities of human fulfillment for all men.
    [Show full text]
  • General Conference Sessions, July 17Th, 2016
    ICLA 2016 – General Conference Sessions, July 17th, 2016 ICLA 2016 – General Conference Sessions Blumesberger, Susanne 30 Cvetkovic, Tanja 50 A Boog, Julia 45 Abouel.lail, Khalid 34 Boysen, Benjamin 32 D Abuawad, Karim 39 Brantner, Irina 26 AIT MENGUELLAT, Mohammed Brevik-Zender, Heidi 37 D’Urso, Andrea 31 Salah 37 Brlek, Tomislav 15 Daniele, Valentina 33 Ala-Risku, Riikka 40 Brunner, Marie-Louise 26 De Dobbeleer, Michel 12 Al-Badaai, Muna 34 Buffet, Thomas 10, 14 DE FARIA, GENTIL 34 alberto, bejarano 46 Bujaldón, Lila 20 de Oliveira, Andressa Cristina 16 Al-Dabbagh, Abdulla 19 Burima, Maija 45 Decock, Sofie 28 Aleksandrova, Sonya 49 Busl, Gretchen 24 Dehghanian, Javad 21 Alekseeva, Galina 44 Buzarboruah, Pallavi 11 Delgado, Ana Maria 34 Alizadeh Kashani, Neda 23 Dhruv, Titiksha 48 Alkolaly, Mahrous 16 C Diemer, Stefan 6 ALLIOUI, SAMIA 24 Dimovska, Iva 50 Ambedkar, Vinay Kumar 38 Cacchioli, Emanuela 7, 44 Ding, Ersu 15 Andrade, Pilar 52 Calderon, Tatiana 13 Djavari, Mohammad Hossein 16 Aras, Göksen 31 Canpalat, Esra 52 Dokhtourichvili, Mzaro/Mzagvé 37 Araujo, Renata 39 Capeloa Gil, Isabel 28 Dooghan, Daniel 33 Assibpour, Mohsen 25 Capraroiu, E. Gabriela 34 Dorri, najmeh 53 Attikpoé, Kodjo 44 Carballo, Mirian 16 Dothas, Juan 32 Au, Chung-to 22 Carminatti, Natália 38 Carter, Jaclyn 26 Dowden, Steve 27 Dreier, Stephanie 41 B Ceciu, Ramona L. 18 Ceh Steger, Jozica 33 du Toit, Catherine 7 Bachem, Nadeschda 52 Cerce, Danica 34 DUPLANCIC, ELENA 9 Bacskai-Atkari, Julia 32, 48 Chan, Danny Weng-kit 27 Dutta, Arnab 11, 37 Bahmani, kaihan 7 Chan,
    [Show full text]
  • The Wild Hunt and the Witches' Sabbath
    Hutton, R. E. (2014). The Wild Hunt and the Witches' Sabbath. Folklore, 125(2), 161-178. https://doi.org/10.1080/0015587X.2014.896968 Peer reviewed version Link to published version (if available): 10.1080/0015587X.2014.896968 Link to publication record in Explore Bristol Research PDF-document This is an Accepted Manuscript of an article published by Taylor & Francis Group in Folklore on 07/07/2015, available online: http://www.tandfonline.com/10.1080/0015587X.2014.896968 University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ 1 The Wild Hunt and the Witches’ Sabbath Ronald Hutton Abstract Recent writing on the medieval origins of the concept of the witches’ sabbath have emphasized the importance to them of beliefs in nocturnal processions or cavalcades of spirits, known in modern times by the umbrella term of the ‘Wild Hunt’. This article suggests that the modern notion of the ‘Hunt’ was created by Jacob Grimm, who conflated different medieval traditions with modern folklore. It further argues that a different approach to the study of medieval spirit processions, which confines itself to medieval and early modern sources and distinguishes between the types of procession described in them, results in different conclusions, with regard both to the character of the ‘Hunt’ and to its relationship with the sabbath. Introduction ‘In German and Celtic legend, the Wild Hunt consisted of a band of ghosts or spirits who would ride through the night.
    [Show full text]
  • Japanese Folk Tale
    The Yanagita Kunio Guide to the Japanese Folk Tale Copublished with Asian Folklore Studies YANAGITA KUNIO (1875 -1962) The Yanagita Kunio Guide to the Japanese Folk Tale Translated and Edited by FANNY HAGIN MAYER INDIANA UNIVERSITY PRESS Bloomington This volume is a translation of Nihon mukashibanashi meii, compiled under the supervision of Yanagita Kunio and edited by Nihon Hoso Kyokai. Tokyo: Nihon Hoso Shuppan Kyokai, 1948. This book has been produced from camera-ready copy provided by ASIAN FOLKLORE STUDIES, Nanzan University, Nagoya, japan. © All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition. Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Nihon mukashibanashi meii. English. The Yanagita Kunio guide to the japanese folk tale. "Translation of Nihon mukashibanashi meii, compiled under the supervision of Yanagita Kunio and edited by Nihon Hoso Kyokai."­ T.p. verso. "This book has been produced from camera-ready copy provided by Asian Folklore Studies, Nanzan University, Nagoya,japan."-T.p. verso. Bibliography: p. Includes index. 1. Tales-japan-History and criticism. I. Yanagita, Kunio, 1875-1962. II. Mayer, Fanny Hagin, 1899- III. Nihon Hoso Kyokai. IV. Title. GR340.N52213 1986 398.2'0952 85-45291 ISBN 0-253-36812-X 2 3 4 5 90 89 88 87 86 Contents Preface vii Translator's Notes xiv Acknowledgements xvii About Folk Tales by Yanagita Kunio xix PART ONE Folk Tales in Complete Form Chapter 1.
    [Show full text]
  • Masks of Charos in Modern Greek Demotic Songs. Sources
    MASKS OF CHAROS IN MODERN GREEK DEMOTIC SONGS MICHAŁ BZINKOWSKI MASKS OF CHAROS IN MODERN GREEK DEMOTIC SONGS SOURCES, REPRESENTATIONS AND CONTEXT J agiellonian U niversi ty Press Reviewer dr hab. Dariusz Brodka, prof. UJ Cover design Paweł Sepielak With the fi nancial support of the Institute of Classical Philology of the Faculty of Philology at the Jagiellonian University © Copyright by Michał Bzinkowski & Jagiellonian University Press First edition, Kraków 2017 All rights reserved No part of this book may by reprinted, or reproduced, or utilised in any form or by any electronic, mechanical, or other means now known, including photocopying and recording, or in any information storage, or retreival system without prior permission in writing from the Publishers. ISBN 978-83-233-4330-1 ISBN 978-83-233-9698-7 (e-book) www.wuj.pl Jagiellonian University Press Editorial Offi ces: Michałowskiego 9/2, 31-126 Kraków Phone: +48 12 663 23 80, +48 12 663 23 82, Fax: +48 12 663 23 83 Distribution: Phone: +48 12 631 01 97, Fax: +48 12 631 01 98 Cell Phone: +48 506 006 674, e-mail: [email protected] Bank: PEKAO SA, IBAN PL80 1240 4722 1111 0000 4856 3325 Αγγελικό και μαύρο, φως Γιώργος Σεφέρης Light, angelic and black George Seferis In Memory of my Grandparents CONTENTS Preface Charon or Charos? ......................................................................................... 9 Chapter I – Sources 1. Folk songs in nineteenth- and twentieth-century Greece .................. 15 2. Mirologia and the songs of the Underworld and Charos....................... 24 Chapter II – Representations 1. Th e Underworld of demotic songs ......................................................... 31 2. Charos in Modern Greek language .......................................................
    [Show full text]
  • Albo D'oro Dei Vincitori Del Mondello
    Albo d’Oro dei vincitori del Premio Letterario Internazionale Mondello 1975 BARTOLO CATTAFI, letteratura UGO DELL’ARA, teatro DENIS MCSMITH, Premio speciale della Giuria 1976 ACHILLE CAMPANILE, letteratura ANTONINO ZICHICHI, scienze fisiche DOMENICO SCAGLIONE, scienze finanziarie FELICE CHILANTI, giornalismo FRANCESCO ROSI, cinema GIAMPIERO ORSELLO, informazione PAOLA BORBONI, teatro 1977 GÜNTER GRASS, letteratura SERGIO AMIDEI, SHELLEY WINTERS, cinema ROMOLO VALLI, ROBERTO DE SIMONE, teatro GIULIANA BERLINGUER, EMILIO ROSSI, televisione PIETRO RIZZUTO, lavoro STEFANO D’ARRIGO, Premio speciale della Giuria 1978 MILAN KUNDERA, Il valzer degli addii (Bompiani), narrativa straniera GHIANNIS RITSOS, Tre poemetti (Guanda), poesia straniera CARMELO SAMONÀ, Fratelli (Einaudi), opera prima narrativa GIOVANNI GIUGA, Poesie da Smerdjakov (Lacaita), opera prima poetica ANTONELLO AGLIOTTI, FRANCO CHIARENZA, MUZI LOFFREDO, GIOVANNI POGGIALI, GIULIANO VASILICÒ, teatro JURIJ TRIFONOV, Premio speciale della Giuria 1979 N. S. MOMADAY, Casa fatta di alba (Guanda), narrativa straniera JOSIF BRODSKIJ, Fermata nel deserto (Mondadori), poesia straniera FAUSTA GARAVINI, Gli occhi dei pavoni (Vallecchi), PIERA OPPEZZO, Minuto per minuto (La Tartaruga), opera prima narrativa GILBERTO SACERDOTI, Fabbrica minima e minore (Pratiche), opera prima poetica LEO DE BERARDINIS, PERLA PERAGALLO, teatro JAROSLAW IWASZKIEVICZ, Premio speciale della Giuria 1980 JUAN CARLOS ONETTI, Gli addii (Editori Riuniti), narrativa straniera JUAN GELMAN, Gotan (Guanda), poesia straniera
    [Show full text]
  • Press Release
    press release All-New Nightmares from Old Changi Hospital, March of the Dead, Hawker Centre Massacre & More Unleashed at Universal Studios Singapore’s Halloween Horror Nights Southeast Asia’s award-winning Halloween event returns with brand new local and Western scare acts, record number of haunted houses, first-ever procession of the dead, hair-raising live shows, as well as thrilling rides and attractions SINGAPORE, 27 July 2016 – This Halloween, let your loudest screams be heard at Singapore’s largest and most anticipated scarefest as Universal Studios Singapore at Resorts World Sentosa unleashes its scariest Halloween Horror Nights ever! Debuted in 2011, this sixth edition will see the theme park engulfed in hordes of supernatural creatures from Singapore-inspired hauntings to Western horrors, showcasing a record number of haunted houses and presenting the first-ever theatrical procession inspired by the Day of the Dead. Ruled by the malevolent Lady Death (死亡女神) who awakens the dead and unravels the darkness within, Halloween Horror Nights 6 will feature five terrifying haunted houses, two horrifying scare zones where denizens of the dark rule the night and two spectacular live shows. Beginning 30 September, the event runs for 16 select nights across five weekends. Early bird tickets are now on sale at www.halloweenhorrornights.com.sg Mr Jason Horkin, Senior Vice President of Attractions at Resorts World Sentosa, said: “The sixth edition of our award-winning Halloween Horror Nights at Universal Studios Singapore will unleash the darkest nightmares that will resonate with local and international visitors alike. Horror with a distinctively Singapore flavour has been a big hit with fans in previous editions, and we are doing it again this year with two iconic local places – the derelict Old Changi Hospital and a massacre at our everyday hawker centre.
    [Show full text]
  • Best Lists of Iicontemporary" Fiction
    BEST LISTS OF IICONTEMPORARY" FICTION In 1~83 the distinguished British novelist and provocateur, Al1thonyBurgcss, decided to issue a list of thp 99 Best Novels in English since WW H. Prc-sumablytht, hundredth slot was available for his readers to add one of his own. IA· :,i1e thisis all merely parlor games on a slightly higher level than "Trivial Ptlrsuit" or "Jcop~rdy", such '~oing~-on do providp somp provocative rcading lists for English Majors and/or people who love to read fiction. So herc arc BurgL'Ss' choices followed by the choices of the CSUS profossors teaching contemporary fiction on a regular basis since thpy were hired. ANTHONY BURGESS· 1939: Party Going by Henry Green. After Many a Summer Dies the Swan by Aldous Huxley. Finnegan's Wake by James Joyce. At Swim-Two-Birds byFlann O'Brien. 1940: The Power & The Glory byGraham Greene.'For Whcml The Bell Tollsby Ernest Hemingway. STRANGERS & BROTHERS(a series of novels to 1970) bye. P. Snow. 1941: The Aerodrome by Rex Wainer. 1944: The Horse's Mouth by Joyce Cary. The Razor's Edge by W. Somerset Maugham 1945.: Brideshead Revisited by Evelyn Waugh 1946: Titus Groan by Mervyn Peake 1947: The Victim by Saul Bellow. Under the \Iolcanoby MalcolmLowry 1948: The Heart of the Matter by Graham Greene. The Naked and the Dead by . Norman Mailer. No Highway by Nevil Shute . 1949:The Heat ofthe Day by Elizabeth Bowen, Ape and Essence by Aldous Huxley, 1984 by George OrwelL The Body by William Sansom' 1950: Scenes From Provincial q{e by William Cooper.
    [Show full text]
  • LASA Forum Is Published Four Times a Year
    Latin American Studies Association fWINTER 2009o| VOLUME XL | ISSUErum1 IN THIS ISSUE On the Profession ¿De qué cine hablamos? Las tareas de los Estudios del Cine Latinoamericano por CLAUDIA FERMAN Estudos de Cinema na Universidade Brasileira por FERNÃO PESSOA RAMOS Películas de papel: Cartografía del estudio del cine de América Latina por GUSTAVO A. REMEDI Latin American Cinema and Latin American Studies by KATHLEEN NEWMAN Latin American Film Scholarship in the UK Mapping the Field by JOHN KING Debates Inequality in Latin American Literary and Cultural Studies Introduction by CYNTHIA STEELE Against (In)equality Bad Latin American Literature by JON BEASLEY-MURRAY Overcoming Colonialism Writing in Indigenous Languages by JEAN FRANCO Inscriptions of Inequality in Latin American Literary and Cultural Studies by IDELBER AVELAR Perspectivas eco-críticas latinoamericanas Conocimientos transpuestos recuperados por ILEANA RODRÍGUEZ ¿Existe un giro neoconservador en Latinoamérica hoy? por JOHN BEVERLEY Notes Toward an Aesthetics of Marginality in Contemporary Latin American Literature by LUZ HORNE and DANIEL NOEMI VOIONMAA President Eric Hershberg, Simon Fraser University [email protected] Vice President John Coatsworth, Columbia University [email protected] Past President Charles R. Hale, University of Texas, Austin [email protected] Table of Contents Treasurer Kevin Middlebrook, University of London [email protected] EXECUTIVE COUNCIL 1 Alfred C. Stepan | Recipient of Kalman Silvert Award for 2009 For term ending April 2009
    [Show full text]
  • October, 2011 Title Author RL Points 42509 Genetics: Unlocking The
    October, 2011 Title Author RL points 42509 Genetics: unlocking the secrets of life Aaseng, Nathan 9.9 4.0 57540 Track and field (History of sports) Aaseng, Nathan 10.1 5.0 11844 True champions Aaseng, Nathan 7.5 5.0 21609 Go and come back Abelove, Joan 3.8 5.0 75505 Tobey Maguire Abraham, Philip 5.5 1.0 86936 Down the Rabbit Hole Abrahams, Peter 4.3 10.0 130987 Reality check Abrahams, Peter 4.6 9.0 69874 Cystic Fibrosis Abramovitz, Melissa 11.8 4.0 107829 Lou Gehrig's Disease Abramovitz, Melissa 10.9 4.0 69873 Chronic Fatigue Syndrome Abrams, Liesa 11.9 4.0 106418 Defining Dulcie Acampora, Paul 4.0 4.0 79634 Things fall apart Achebe, Chinua 6.2 8.0 29326 Thunder ice Acheson, Alison 4.9 5.0 6048 Leaves in October, The Ackerman, Karen 5.4 3.0 54122 Life, the Universe and everything Adams, Douglas 7.6 9.0 18830 Restaurant at the end of the Universe, The Adams, Douglas 6.1 8.0 54127 So long, and thanks for all the fish Adams, Douglas 6.9 7.0 7109 Hitchhiker's guide to the galaxy Adams, Douglas 6.6 8.0 749 Watership down Adams, Richard 6.2 25.0 731 Born free Adamson, Joy 7.3 9.0 17764 Courtyard cat Adler, C.S. 4.6 5.0 5014 Ghost brother Adler, C.S. 4.2 5.0 480 Magic of the Glits Adler, C.S. 5.5 3.0 5965 Tuna fish Thanksgiving Adler, C.S.
    [Show full text]
  • The Evolution of Yōkai in Relationship to the Japanese Horror Genre
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2015 The Evolution of Yōkai in Relationship to the Japanese Horror Genre Adam J. Johnson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Japanese Studies Commons Recommended Citation Johnson, Adam J., "The Evolution of Yōkai in Relationship to the Japanese Horror Genre" (2015). Masters Theses. 207. https://doi.org/10.7275/7168837 https://scholarworks.umass.edu/masters_theses_2/207 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE EVOLUTION OF YŌKAI IN RELATIONSHIP TO THE JAPANESE HORROR GENRE A Thesis Presented by ADAM J. JOHNSON Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Japanese THE EVOLUTION OF YŌKAI IN RELATIONSHIP TO THE JAPANESE HORROR GENRE A Thesis Presented By ADAM J. JOHNSON Approved as to style and content by: _________________________________________________________ Amanda C. Seaman, Chair _________________________________________________________ Reiko Sono, Member _________________________________________ Stephen Miller, Director Asian Languages and Literatures _________________________________________ William Moebius, Chair Languages, Literatures, and Cultures DEDICATION To my loving family and friends who showed me what education is all about. Thank you for lending me your love and support throughout this three-year process. I have at last earned my freedom.
    [Show full text]