Trauma, Witnessing, and the Poetics of Implication
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Urging All of Us to Open Our Minds and Hearts So That We Can Know Beyond
CHAPTER 1 HOLISTIC READING We have left the land and embarked. We have burned our bridges behind us- indeed we have gone farther and destroyed the land behind us. Now, little ship, look out! Beside you is the ocean: to be sure, it does not always roar, and at times it lies spread out like silk and gold and reveries of graciousness. But hours will come when you realize that it is infinite and that there is nothing more awesome than infinity... Oh, the poor bird that felt free now strikes the walls of this cage! Woe, when you feel homesick for the land as if it had offered more freedom- and there is no longer any ―land.‖ - Nietzsche Each man‘s life represents a road toward himself, an attempt at such a road, the intimation of a path. No man has ever been entirely and completely himself. Yet each one strives to become that- one in an awkward, the other in a more intelligent way, each as best he can. Each man carries the vestiges of his birth- the slime and eggshells of his primeval past-… to the end of his days... Each represents a gamble on the part of nature in creation of the human. We all share the same origin, our mothers; all of us come in at the same door. But each of us- experiments of the depths- strives toward his own destiny. We can understand one another; but each is able to interpret himself alone. – Herman Hesse 1 In this chapter I suggest a new method of reading, which I call “holistic reading.” Building on the spiritual model of the Self offered by Jiddu Krishnamurti and the psychological model of “self” offered by Dr. -
Identity and Women Poets of the Black Atlantic
IDENTITY AND WOMEN POETS OF THE BLACK ATLANTIC: MUSICALITY, HISTORY, AND HOME KAREN ELIZABETH CONCANNON SUBMITTED IN ACCORDANCE WITH THE REQUIREMENTS FOR THE DEGREE OF DOCTOR IN PHILOSOPHY UNIVERSITY OF LEEDS SCHOOL OF ENGLISH SEPTEMBER 2014 i The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Karen E. Concannon to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs, and Patents Act 1988. © 2014 The University of Leeds and K. E. Concannon ii ACKNOWLEDGEMENTS I am grateful for the wisdom and assistance of Dr Andrew Warnes and Dr John Whale. They saw a potential in me from the start, and it has been with their patience, guidance, and eye-opening suggestions that this project has come to fruition. I thank Dr John McLeod and Dr Sharon Monteith for their close reading and constructive insights into the direction of my research. I am more than appreciative of Jackie Kay, whose generosity of time and spirit transcends the page to interpersonal connection. With this work, I honour Dr Harold Fein, who has always been a champion of my education. I am indebted to Laura Faile, whose loving friendship and joy in the literary arts have been for me a lifelong cornerstone. To Robert, Paula, and David Ohler, in each of my endeavours, I carry the love of our family with me like a ladder, bringing all things into reach. -
River ¿Oods and Tides of Memory in Anne Michaels' Fugitive Pieces
/LTXHIDFWLRQV5LYHU¿RRGVDQGWLGHVRI memory in Anne Michaels’ Fugitive Pieces CATALINA BOTEZ ,QP\DUWLFOHRQ$QQH0LFKDHOVµ¾FWLRQDOZRUN)XJLWLYH3LHFHV ,LQWURGXFHWKHFULWLFDOFRQFHSW of liquefaction as thematic leitmotiv that connects psychological, transgenerational trauma to largescale environmental catastrophes liNe ¿ooGs anG hurricanes across time anG place, and across international, national and domestic spaces. Through this central trope, I show how psychological post-traumatic healing in Holocaust survivors and geologic post-traumatic healing operate in tandem in the novel, more precisely how the ¾gurative unearthing and worNing through of traumatic memory across generations parallels the literal unearthing and re-situating of archaeological artefacts across geologic time. The interconnectedness of psychological wounds with geological wounds demonstrates the ethics of nature – a kind of co-healing of persons and places across generations and landscapes (both transgenerational and transhistorical). I also point out the restitutive ethics of nature and maintain that ¿oods manifest themselves as counter- historic agents able to reveal and restore historic truth through obscuration and disclosure. ‘Redemption through cataclysms; what had once years, I dwell on comparisons between psychological been transformed might be transformed again.’ trauma and geological cataclysms: while both seem (Anne Michaels, Fugitive Pieces) to occur suddenly and unexpectedly, their aftermath always involves slow gradualness. That is to say, post- ‘He who controls -
Latino American Literature in the Classroom
Latino American Literature in the Classroom Copyright 2002 by Delia Poey. This work is licensed under a modified Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/. You are free to electronically copy, distribute, and transmit this work if you at- tribute authorship. However, all printing rights are reserved by the University Press of Florida (http://www.upf.com). Please contact UPF for information about how to ob- tain copies of the work for print distribution. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). For any reuse or distribution, you must make clear to others the license terms of this work. Any of the above conditions can be waived if you get permission from the University Press of Florida. Nothing in this license impairs or restricts the author’s moral rights. Florida A&M University, Tallahassee Florida Atlantic University, Boca Raton Florida Gulf Coast University, Ft. Myers Florida International University, Miami Florida State University, Tallahassee University of Central Florida, Orlando University of Florida, Gainesville University of North Florida, Jacksonville University of South Florida, Tampa University of West Florida, Pensacola This page intentionally left blank Latino American Literature in the Classroom The Politics of Transformation Delia Poey University Press of Florida Gainesville · Tallahassee · Tampa · Boca Raton Pensacola · Orlando · Miami · Jacksonville · Ft. Myers Copyright 2002 by Delia Poey Printed in the United States of America on acid-free paper All rights reserved 07 06 05 04 03 02 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Poey, Delia. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
Schedule of Events
Schedule of Events Wednesday, February 28 Thursday, March 1 12:00 Noon–7:00 PM 8:00 AM–5:00 PM W100. Conference Registration. R100. Conference Registration. T h u r s d a y , Lobby Level Lobby Level Attendees who have registered in advance may pick up their reg- Attendees who have registered in advance may pick up their reg- istration materials throughout the day at AWP’s registration desk. istration materials throughout the day at AWP’s registration desk. On-site registration passes are available for purchase. On-site registration passes are available for purchase. 12:00 Noon–5:30 PM 8:30 AM–5:30 PM W101. Bookfair Setup. R101. Bookfair. Exhibit Hall, Lower Level Exhibit Hall, Lower Level The exhibit hall on the lower level of the Hilton Atlanta will be open for exhibitor setup. Only those wearing an exhibitor badge, 9:00–10:15 AM M a r c h 1 , or those accompanied by an individual wearing an exhibitor badge will be permitted inside the exhibit hall during setup hours. Book- R102. Evolution of a Writer: On Ekeing, Emerging, and Be- fair exhibitors are welcome to pick up their registration materials coming Established. in the registration area located on the lobby level of the Hilton (Matt Roberts, Steven Church, Adam Braver) Atlanta. Salon B, 2nd Floor How does one move from trying to eke out a place for themselves 5:00–6:30 PM in the pages of literary journals to the New York Times Bestseller List? This panel will address the professional development of writ- W102. -
Cataclysmic Redemption in Anne Michaels' Fugitive Pieces
CATACLYSMIC REDEMPTION IN ANNE MICHAELS' FUGITIVE PIECES A BACKWARD GLANCE: CATACLYSMIC REDEMPTION IN ANNE MICHAELS' FUGITIVE PIECES By GERALDINE D. OSHMAN, B.A. A Thesis Submitted to the School ofGraduate Studies in Partial Fulfilment ofthe Requirements for the Degree Master ofArts McMaster University Copyright by Geraldine Oshman, August 2002 MASTER OF ARTS (2002)McMaster University Hamilton, Ontario TITLE: A Backward Glance: Cataclysmic Redemption in Anne Michaels' Fugitive Pieces (English) AUTHOR: Geraldine D. Oshman, B.A. (Towson University) SUPERVISOR: Dr. Roger L. Hyman NUMBER OF PAGES: vi, 104 11 ·" Abstract Five decades after the event, portraying the Holocaust continues to be a precarious and controversial endeavor. The overall posture of Holocaust representation has been to underline the nonsensical and destructive nature ofthe event as it extends into the post-Holocaust generation's collective memory. While traditional representations ofJewish catastrophe have relied on ancient Biblical and non-biblical archetypes, originating with Adam's fall from God's grace and mankind's eventual restitution from his fall to be delivered in messianic time, Holocaust narratives have in general not carried a message ofredemption, nor have they offered any closure to the event. Not only does Anne Michaels' Fugitive Pieces render a transformative narrative, but the closure in Part I ofthe novel reaches a level ofredemption. This work addresses the problems with the restorative nature ofthe novel through untangling the dense metaphors, the plot structure and characterization, and by drawing on survivor accounts, psychoanalysis, historiography and literary criticism. I look closely at how Jakob recovers his past, reaches redemption, and how he ultimately comes through the trauma ofthe Holocaust while remaining on the edges ofthe event. -
Highlights Frankfurt Book Fair 2019 Highlights
Incorporating Gregory & company Highlights Frankfurt Book Fair 2019 Highlights Welcome to our 2019 International Book Rights Highlights For more information please go to our website to browse our shelves and find out more about what we do and who we represent. Contents Fiction Literary and Upmarket Fiction 1 - 14 Commercial Fiction 15 - 20 Crime, Suspense, Thriller 21-34 Non-Fiction Politics and Current Affairs 35 - 41 History, Nature and Science 42 - 48 Biography and Memoir 49 - 52 Upcoming Publications 53 Recent Highlights 54 - 55 Reissues 56 Film & TV News 57-58 Sub-agents 59 Primary Agents US Rights: Veronique Baxter; Jemima Forrester; Georgia Glover; Anthony Goff (AG); Andrew Gordon (AMG); Jane Gregory; Lizzy Kremer; Harriet Moore; Caroline Walsh, Jessica Woollard Film & TV Rights: Clare Israel; Penelope Killick; Nicky Lund; Georgina Ruffhead Translation Rights Alice Howe: [email protected] Direct: France; Germany Emma Jamison: [email protected] Direct: Brazil; Portugal; Spain and Latin America Sub-agented: Poland Margaux Vialleron: [email protected] Direct: Denmark; Finland; Iceland; Italy; the Netherlands; Norway; Sweden; New Rights Executive (to be confirmed) - until then Margaux Vialleron handles Direct: Arabic; Albania; Bulgaria; Greece; Israel; Macedonia; Vietnam; plus miscellaneous requests Sub-agented: Czech Republic; Indonesia; Romania; Serbia; Slovakia; Thailand Lucy Talbot: [email protected] Direct: Croatia; Estonia; Latvia; Lithuania; Slovenia Subagented: China; Hungary, Japan; Korea; Russia; Taiwan; Turkey; Ukraine Contact t: +44 (0)20 7434 5900 f: +44 (0)20 7437 1072 www.davidhigham.co.uk Blurred Lines Hannah Begbie She spoke out. I stayed silent. What would you do? When Becky accidently sees her boss in a cinch with a woman who isn’t his wife, she’s horrified but keeps her counsel – she owes Matthew so much for all he’s done for her career. -
Chapter 2 Michaels's Figurative Language – Applying the Theory
Chapter 2 Michaels’s figurative language – applying the theory The enigma of metaphorical discourse is that it invents in both senses of the word: what it creates, it discovers; and what it finds, it invents. (Ricoeur 1977: 239) The theoretical foundation on which this doctoral thesis mainly, but not exclusively, rests is provided by the work of the three French theorists Certeau (1984), Ricoeur (1977; 1992) and Bourdieu (1991), and the German philologist Klemperer (2000), which we have explored in the previous chapter. We examine the latter in relation to Michaels’s portrayal of the Nazis’ use of the German language in Chapter 3. In the present chapter, we apply the ideas of the former three theorists to Michaels and her texts,1 in conjunction with four other topics – the ongoing Holocaust literary debate, the notion of empathic identification, the concept of the corpse poem and the idea of Michaels as an author and poet standing in for her real-life subjects – themselves supported, or challenged, by critics and theorists. Certeau – the practices of writing and reading With regard to the writing–reading relationship, in Certeau’s view the author is a producer of a product.2 The product is the text. The readers are consumers of the product, the text. The author dominates; the readers are dominated but not defeated. Michaels is the wilful and powerful subject producing her product for her targets or consumers. As readers we are her targets – we are neither the competition nor the enemy, although in cases such as the critics Henighan (2002), and to a lesser extent Cook (2000), as we see below, in their negative criticism of Michaels’s novel Fugitive Pieces the target serves as a threat. -
MHP 0106 003 ALF Program.Indd
A RKANSAS L ITERARY F ESTIVAL ARKANSAS LITERARY FESTIVAL April 21-23, 2006 I Little Rock River Market District Festival Underwriter Hosted by Winner of Arkansas Business’ 2005 Nonprofi t of the Year Award LETTER FROM THE HONORARY CHAIRMAN OF THE 2006 ARKANSAS LITERARY FESTIVAL April 21, 2006 Dear Fellow Readers: Each night at my house, all televisions and music players are turned off, the house gets quiet, and everyone settles down for reading time. There is nothing I enjoy more than sharing a storybook with my children during these special times. I am so thankful that my parents, grandparents, and teachers gave me the gift of reading. Sadly, however, some families don’t have reading time because the adults in the house can’t read. Arkansas Literacy Councils, Inc., is working to change that. Volunteers help thousands of adults become readers each year, sharing not only the gift of reading but also the gift of hope. New readers have a chance at meaningful employment. They can understand a prescription and balance a checkbook. Newfound confi dence replaces the embarrassment and low self-worth that eroded their ability to improve their lives. Best of all, their children have the opportunity to snuggle next to them with a storybook and to become readers as well. So why do some of those same volunteers and others donate additional time to host the Arkansas Literary Festival? Because it’s not enough just to teach nonreaders to recognize letters and words. We must empower them to love reading so that they will embrace it as one of life’s joys rather than tolerate it as one of life’s necessities. -
Consciousness and the Novel 2
Contents Cover About the Book Also by David Lodge Dedication Title Page Preface 1. Consciousness and the Novel 2. Literary Criticism and Literary Creation 3. Dickens Our Contemporary 4. Forster’s Flawed Masterpiece 5. Waugh’s Comic Wasteland 6. Lives in Letters: Kingsley and Martin Amis 7. Henry James and the Movies 8. Bye-Bye Bech? 9. Sick with Desire: Philip Roth’s Libertine Professor 10. Kierkegaard for Special Purposes 11. A Conversation about Thinks . Notes Index Copyright About the Book Human consciousness, long the province of literature, has lately come in for a remapping – even rediscovery – by the natural sciences, driven by developments in Artificial Intelligence, neuroscience, and evolutionary biology. But as the richest record we have of human consciousness, literature, David Lodge suggests, may offer a kind of knowledge about this phenomenon that is complementary, not opposed, to scientific knowledge. Writing with characteristic wit and brio, and employing the insight and acumen of a skilled novelist and critic, Lodge here explores the representation of human consciousness in fiction (mainly English and American) in the light of recent investigations in cognitive science, neuroscience, and related disciplines. How, Lodge asks, does the novel represent consciousness? And how has this changed over time? In a series of interconnected essays, he pursues this question down various paths: how does the novel's method compare with that of other creative media such as film? How does the consciousness (and unconscious) of the creative writer do its work? And how can criticism infer the nature of this process through formal analysis? In essays on Charles Dickens, E.M. -
University of Florida Thesis Or Dissertation Formatting
GROWING UP WITH AMERICA: MYTH, CHILDHOOD, AND NATIONAL IDENTITY FROM 1945-2011 By EMILY A. MURPHY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2014 © 2014 Emily A. Murphy To my family and loving boyfriend ACKNOWLEDGMENTS Writing a dissertation involves long hours of solitude and an enormous amount of painstaking research and writing. For those who helped me complete this process, I am deeply grateful. My support team consisted of a number of family members, friends, and, of course, committee members. I want to give a special thanks to my co-directors, Dr. Phillip Wegner and Dr. Anastasia Ulanowicz, who both read multiple drafts of my dissertation and provided invaluable support and guidance. Together, my directors made a phenomenal team that went above and beyond anything I have ever experienced in terms of mentorship. Dr. Ulanowicz listened in the early stages as I attempted to figure out what I wanted to write and she continued to foster my ideas at every stage of the dissertation writing process. Her confidence in my ideas and my ability to write about them gave me the energy to keep writing even when things seemed hopeless. Phil, for his part, gave superb advice regarding professional development (from journals, to grants, to jobs) and never complained when I asked him countless questions about graduation or when I made a request for yet another letter of recommendation. Phil’s support helped me navigate the final stages of the dissertation, especially the balancing act of dissertation writing and job searching.