“Maxim Gorky's Mother': a Marxist – Feminist Approach”
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University of Cincinnati
UNIVERSITY OF CINCINNATI Date: August 6th, 2007 I, __________________Julia K. Baker,__________ _____ hereby submit this work as part of the requirements for the degree of: Doctorate of Philosophy in: German Studies It is entitled: The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life-Writing and Documentary Film This work and its defense approved by: Chair: Dr. Katharina Gerstenberger Dr. Sara Friedrichsmeyer Dr. Todd Herzog The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life-Writing and Documentary Film A Dissertation submitted to the Division of Research and Advanced Studies University of Cincinnati In partial fulfillment of the Requirements for the degree of DOCTORATE OF PHILOSOPHY (Ph.D.) In the Department of German Studies Of the College of Arts and Sciences 2007 by Julia K. Baker M.A., Bowling Green State University, 2000 M.A., Karl Franzens University, Graz, Austria, 1998 Committee Chair: Katharina Gerstenberger ABSTRACT “The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life- Writing and Documentary Film” is a study of the literary responses of writers who were Jewish children in hiding and exile during World War II and of documentary films on the topic of refugee children and children in exile. The goal of this dissertation is to investigate the relationships between trauma, memory, fantasy and narrative in a close reading/viewing of different forms of Jewish life-writing and documentary film by means of a scientifically informed approach to childhood trauma. Chapter 1 discusses the reception of Binjamin Wilkomirski’s Fragments (1994), which was hailed as a paradigmatic traumatic narrative written by a child survivor before it was discovered to be a fictional text based on the author’s invented Jewish life-story. -
Barbara Hammer, 70 Years Old, Hands the Camera to Gina Carducci, a Young Queer Film- Maker
Generations is a film about mentoring and passing on the tradi- tion of personal experimental filmmaking. Barbara Hammer, 70 years old, hands the camera to Gina Carducci, a young queer film- maker. Shooting during the last days of Astroland at Coney Is- land, New York, the filmmakers find that the inevitable fact of ageing echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Editing completely sep- arately both picture and sound, the filmmakers join their films in the middle when they’ve finished, making a true generational and experimental experiment. In a time when digital dominates the art domain, a DIY aesthet- ic is embraced by Gina Carducci, a young thirty-year-old filmmak- er who hand processes 16mm film and a seventy-year-old pioneer of queer experimental cinema, Barbara Hammer. Hammer invites Carducci to collaborate on a new film, Generations. Barbara Hammer Celebrating Hammer’s spontaneous shooting style and dense ed- Maya Deren’s Sink iting montage with Carducci’s studied cinematography, the two filmmakers, generations apart in age, shoot the last days of Astro- land in Coney Island, New York. The aged but vibrant amusement Eine Hommage an die Mutter des amerikanischen Avantgarde- park, characteristic of the 70-year-old Hammer, is a fitting envi- films. Der Film beschwört durch Gespräche mit WeggefährtInnen ronment for the photoplay of the two Bolex filmmakers. und ZeitgenossInnen den Geist einer überlebensgroßen Person. Teiji Itos Familie, Carolee Schneemann und Judith Malvina schwe- Inspired by the revolutionary Shirley Clarke film,Bridges Go ben durch Derens Wohnorte und erinnern sich an kleinste Details Round (1953), where Clarke printed the same footage twice us- der architektonischen und persönlichen Innenräume. -
M.A. Russian 2019
************ B+ Accredited By NAAC Syllabus For Master of Arts (Part I and II) (Subject to the modifications to be made from time to time) Syllabus to be implemented from June 2019 onwards. 2 Shivaji University, Kolhapur Revised Syllabus For Master of Arts 1. TITLE : M.A. in Russian Language under the Faculty of Arts 2. YEAR OF IMPLEMENTATION: New Syllabus will be implemented from the academic year 2019-20 i.e. June 2019 onwards. 3. PREAMBLE:- 4. GENERAL OBJECTIVES OF THE COURSE: 1) To arrive at a high level competence in written and oral language skills. 2) To instill in the learner a critical appreciation of literary works. 3) To give the learners a wide spectrum of both theoretical and applied knowledge to equip them for professional exigencies. 4) To foster an intercultural dialogue by making the learner aware of both the source and the target culture. 5) To develop scientific thinking in the learners and prepare them for research. 6) To encourage an interdisciplinary approach for cross-pollination of ideas. 5. DURATION • The course shall be a full time course. • The duration of course shall be of Two years i.e. Four Semesters. 6. PATTERN:- Pattern of Examination will be Semester (Credit System). 7. FEE STRUCTURE:- (as applicable to regular course) i) Entrance Examination Fee (If applicable)- Rs -------------- (Not refundable) ii) Course Fee- Particulars Rupees Tuition Fee Rs. Laboratory Fee Rs. Semester fee- Per Total Rs. student Other fee will be applicable as per University rules/norms. 8. IMPLEMENTATION OF FEE STRUCTURE:- For Part I - From academic year 2019 onwards. -
Young Adult Realistic Fiction Book List
Young Adult Realistic Fiction Book List Denotes new titles recently added to the list while the severity of her older sister's injuries Abuse and the urging of her younger sister, their uncle, and a friend tempt her to testify against Anderson, Laurie Halse him, her mother and other well-meaning Speak adults persuade her to claim responsibility. A traumatic event in the (Mature) (2007) summer has a devastating effect on Melinda's freshman Flinn, Alexandra year of high school. (2002) Breathing Underwater Sent to counseling for hitting his Avasthi, Swati girlfriend, Caitlin, and ordered to Split keep a journal, A teenaged boy thrown out of his 16-year-old Nick examines his controlling house by his abusive father goes behavior and anger and describes living with to live with his older brother, his abusive father. (2001) who ran away from home years earlier under similar circumstances. (Summary McCormick, Patricia from Follett Destiny, November 2010). Sold Thirteen-year-old Lakshmi Draper, Sharon leaves her poor mountain Forged by Fire home in Nepal thinking that Teenaged Gerald, who has she is to work in the city as a spent years protecting his maid only to find that she has fragile half-sister from their been sold into the sex slave trade in India and abusive father, faces the that there is no hope of escape. (2006) prospect of one final confrontation before the problem can be solved. McMurchy-Barber, Gina Free as a Bird Erskine, Kathryn Eight-year-old Ruby Jean Sharp, Quaking born with Down syndrome, is In a Pennsylvania town where anti- placed in Woodlands School in war sentiments are treated with New Westminster, British contempt and violence, Matt, a Columbia, after the death of her grandmother fourteen-year-old girl living with a Quaker who took care of her, and she learns to family, deals with the demons of her past as survive every kind of abuse before she is she battles bullies of the present, eventually placed in a program designed to help her live learning to trust in others as well as her. -
Socialist Realism Seen in Maxim Gorky's Play The
SOCIALIST REALISM SEEN IN MAXIM GORKY’S PLAY THE LOWER DEPTHS AN UNDERGRADUATE THESIS Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters By AINUL LISA Student Number: 014214114 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009 SOCIALIST REALISM SEEN IN MAXIM GORKY’S PLAY THE LOWER DEPTHS AN UNDERGRADUATE THESIS Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters By AINUL LISA Student Number: 014214114 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009 i ii iii HHaappppiinneessss aallwwaayyss llooookkss ssmmaallll wwhhiillee yyoouu hhoolldd iitt iinn yyoouurr hhaannddss,, bbuutt lleett iitt ggoo,, aanndd yyoouu lleeaarrnn aatt oonnccee hhooww bbiigg aanndd pprreecciioouuss iitt iiss.. (Maxiim Gorky) iv Thiis Undergraduatte Thesiis iis dediicatted tto:: My Dear Mom and Dad,, My Belloved Brotther and Siistters.. v vi ACKNOWLEDGEMENTS Firstly, I would like to praise Allah SWT for the blessings during the long process of this undergraduate thesis writing. I would also like to thank my patient and supportive father and mother for upholding me, giving me adequate facilities all through my study, and encouragement during the writing of this undergraduate thesis, my brother and sisters, who are always there to listen to all of my problems. I am very grateful to my advisor Gabriel Fajar Sasmita Aji, S.S., M.Hum. for helping me doing my undergraduate thesis with his advice, guidance, and patience during the writing of my undergraduate thesis. My gratitude also goes to my co-advisor Dewi Widyastuti, S.Pd., M.Hum. -
Sof'ia Petrovna" Rewrites Maksim Gor'kii's "Mat"
Swarthmore College Works Russian Faculty Works Russian 2008 "Mother", As Forebear: How Lidiia Chukovskaia's "Sof'ia Petrovna" Rewrites Maksim Gor'kii's "Mat" Sibelan E.S. Forrester Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-russian Part of the Slavic Languages and Societies Commons Let us know how access to these works benefits ouy Recommended Citation Sibelan E.S. Forrester. (2008). ""Mother", As Forebear: How Lidiia Chukovskaia's "Sof'ia Petrovna" Rewrites Maksim Gor'kii's "Mat"". American Contributions to the 14th International Congress of Slavists: Ohrid 2008. Volume 2, 51-67. https://works.swarthmore.edu/fac-russian/249 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Russian Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Mother as Forebear: How Lidiia Chukovskaia’s Sof´ia Petrovna Rewrites Maksim Gor´kii’s Mat´* Sibelan E. S. Forrester Lidiia Chukovskaia’s novella Sof´ia Petrovna (henceforth abbreviated as SP) has gained a respectable place in the canon of primary sources used in the United States to teach about the Soviet period,1 though it may appear on history syllabi more often than in (occasional) courses on Russian women writers or (more common) surveys of Russian or Soviet literature. The tendency to read and use the work as a historical document begins with the author herself: Chukovskaia consistently emphasizes its value as a testimonial and its uniqueness as a snapshot of the years when it was writ- ten. -
Strange Contracts: Elfriede Jelinek and Michael Haneke VICKY LEBEAU
Strange Contracts: Elfriede Jelinek and Michael Haneke VICKY LEBEAU Abstract: This essay explores the representation of sexuality and vision in Elfriede Jelinek’s Die Klavierspielerin [The Piano Teacher] (1983) and Michael Haneke’s La Pianiste (2001). In its focus on the relation between Mother and Erika, Die Klavierspielerin brings right to the fore the grounding of both sexuality and visuality in the ongoing ties between mother and child. Displac- ing that novel onto the screen, Haneke redoubles its focus on vision. It is in the convergence between the two that we can begin to explore what may be described as the maternal dimension of the various technologies of vision that have come to pervade the everyday experience of looking—their effect on our ways of understanding the relations between visuality and selfhood, visuality and mind. Keywords: feminism, Michael Haneke, Elfriede Jelinek, The Piano Teacher, pornography, psychoanalysis, psychoanalytic film theory, sadomasochism, The Seventh Continent, sexuality, spectatorship, vision, visual culture, voyeur- ism, D. W. Winnicott Why would a woman welcome her own murder? Not her own death, simply, not even her suicide, but her murder, the loss of her life at the hands of another? To read Elfriede Jelinek’s Die Klavierspielerin [The Piano Teacher], first published in 1983, is to be caught up in that question, its wayward implication in a woman’s pursuit of pleasure, of a “life of her own,” which for much of the book, appears to be possible only in, and through, her eyes. “All Erika wants to do is watch”; “[S] he simply wants to sit there and look. -
ENDER's GAME by Orson Scott Card Chapter 1 -- Third
ENDER'S GAME by Orson Scott Card Chapter 1 -- Third "I've watched through his eyes, I've listened through his ears, and tell you he's the one. Or at least as close as we're going to get." "That's what you said about the brother." "The brother tested out impossible. For other reasons. Nothing to do with his ability." "Same with the sister. And there are doubts about him. He's too malleable. Too willing to submerge himself in someone else's will." "Not if the other person is his enemy." "So what do we do? Surround him with enemies all the time?" "If we have to." "I thought you said you liked this kid." "If the buggers get him, they'll make me look like his favorite uncle." "All right. We're saving the world, after all. Take him." *** The monitor lady smiled very nicely and tousled his hair and said, "Andrew, I suppose by now you're just absolutely sick of having that horrid monitor. Well, I have good news for you. That monitor is going to come out today. We're going to just take it right out, and it won't hurt a bit." Ender nodded. It was a lie, of course, that it wouldn't hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. "So if you'll just come over here, Andrew, just sit right up here on the examining table. -
Fachbereich Erziehungswissenschaft Und Psychologie Der Freien Universität Berlin
Fachbereich Erziehungswissenschaft und Psychologie der Freien Universität Berlin * Physiological correlates and neural circuitry of being moved Dissertation zur Erlangung des akademischen Grades Doktor der Philosophie (Dr. phil.) vorgelegt von Wassiliwizky, Eugen Diplompsychologe Berlin, 2017 Erstgutachter Professor Dr. Stefan Kölsch Zweitgutachter Professor Dr. Thomas Jacobsen Tag der Disputation: 10.11.2017 Gemeinsame Promotionsordnung zum Dr. phil./Ph.D. der Freien Universität Berlin vom 2. Dezember 2008 (FU-Mitteilungen 60/2008) ii Anicca vata sankhara Uppada vaya dhammino Uppajhitva nirujjhanti Tesam vupasamo sukho. — Siddhartha Gautama (Buddha) iii Abstract The present dissertation examines the psychophysiological and neural correlates of being emotionally moved in context of aesthetic experiences. Emotional chills and emotional tears are identified, and experimentally drawn upon, as physiological markers of particularly intense episodes of being moved. In a first step, the connection between emotional chills and being moved is established by means of a film clip rating study. The second study focuses on poetic language. In a series of four experiments that use physiological, behavioral, and fMRI neuroimaging data, poetry is shown to be capable of inducing profound emotional engagement as characterized by subjectively reported chills and objectively recorded piloerection (i.e., goosebumps captured by the goosecam). Moreover, although chills represent highly rewarding experiences for which both previous neuroimaging data on music and the present fMRI results on poetry show activations in the mesolimbic reward circuitry, acquisition of facial electromyographic activity reveals strong effects for the facial indicators of negative affect. This co- activation of negative affect and (aesthetic) pleasure represents a key characteristic of the mixed emotional state of being moved. -
Film Front Weimar’ 30-10-2002 14:10 Pagina 1
* pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3 -
Economies of Russian Literature 1830-1850 by Jillian
Money and Mad Ambition: Economies of Russian Literature 1830-1850 By Jillian Elizabeth Porter A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Harsha Ram, chair Professor Irina Paperno Professor Luba Golburt Professor Victoria Bonnell Spring 2011 Money and Mad Ambition: Economies of Russian Literature 1830-1850 © 2011 by Jillian Elizabeth Porter 1 Abstract Money and Mad Ambition: Economies of Russian Literature 1830-1850 by Jillian Elizabeth Porter Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Harsha Ram, chair This dissertation offers a sustained examination of the economic paradigms that structure meaning and narrative in Russian literature of the 1830s-1840s, the formative years of nineteenth-century Russian prose. Exploring works by Alexander Pushkin, Nikolai Gogol, Fyodor Dostoevsky, and Faddei Bulgarin, I view tropes such as spending, counterfeiting, hoarding, and gambling, as well as plots of mad or blocked ambition, in relation to the cultural and economic history of Nicholas I’s reign and in the context of the importation of economic discourse and literary conventions from abroad. Furthermore, I consider the impact of culturally and economically conditioned affects—ambition, avarice, and embarrassment—on narrative tone. From the post-Revolutionary French plot of social ambition to -
Mother Courage and Her Children
1 These notes are designed as a reference for students and teachers who have viewed Belvoir’s 2015 production of Mother Courage and Her Children. They intend to support discussion of this particular production in the classroom. Contents i. Production credits ii. Key biographies iii. Promotional image and marketing copy for the production iv. Character list v. Scene-by-scene synopsis of Michael Gow’s translation of Mother Courage and Her Children (2015) vi. A note on the translation and Eamon’s motivation to work on the play vii. A note on the time, place and production design viii. Set and costume design images ix. A note on Brecht, Belvoir and this production x. A note on the music and songs xi. The character of Mother Courage xii. Plucking up her courage: Robyn Nevin in conversation with Clive Paget (Limelight, June 2015) xiii. Mother Courage: A triumph for Robyn Nevin John McCallum (The Australian, June 2015) xiv. Will’s Final Speech: An extract from Michael Gow’s play Once in Royal David’s City, which premiered at Belvoir in February 2014 (Mother Courage and Her Children show program, 2015) xv. Brecht on the web: Online resources suggested by Belvoir Brecht & Political Theatre tutor Shannon Murphy xvi. Interview with Shannon Murphy (Radio National, March 2015) xvii. Acknowledgements 2 Belvoir presents MOTHER COURAGE AND HER CHILDREN By BERTOLT BRECHT Translation MICHAEL GOW Music Composition STEFAN GREGORY Director EAMON FLACK Set Designer ROBERT COUSINS Costume Designer ALICE BABIDGE Lighting Designer BENJAMIN CISTERNE Fight Choreographer