DOCSLIB.ORG

PAPER : GENERAL ENGLISH - III COURSE – 03 – STREAM ‘C’ Time : 3 Hrs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PAPER : GENERAL ENGLISH - III COURSE – 03 – STREAM ‘C’ Time : 3 Hrs ST. XAVIER'S COLLEGE (AUTONOMOUS), PALAYAMKOTTAI - 627 002. SEMESTER EXAMINATIONS – NOVEMBER – 2016 15UGE03 UG SEMESTER - III PAPER : GENERAL ENGLISH - III COURSE – 03 – STREAM ‘C’ Time : 3 Hrs. MAX. MARKS: 100 Reg. No. : I. Answer any ONE of the following in about 100 words: (10 marks) 1. Justify the title of the poem “ The Village Schoolmaster”. 2. How is the vanity of kingly tyranny exposed in the poem” Ozymandias”. II. Answer any ONE of the following in about 300 words: (15 marks) 1. How does the prose piece “ I am a Cat” satirise human pretensions, hypocrisy and insincerity? 2. What is the conflict in Schatz‟s mind in “ A Day‟s Wait”? How does it get resolved? III. Answer any ONE of the following in about 300 words: (15 marks) 1. Who are the Magi in the story “ The gift of the Magi”? Why are they called so? 2. Justify the title of the short story “ Two Gentlemen of Verona”. IV. Read the following passages carefully and answer the questions given below them: (10) 1. “Ladies and gentlemen,” he said, “ I will present to you in conclusion, the famous Japanese trick recently invented by the natives of Iipperary”. i) Whom does the word „I‟ refer to? ii) Mention the name of the short story? 2. I met a traveler in an antique land who said; two vast and trunkless legs of stone. i) Who is the speaker. ii) Whose trunkless legs were they? 3. This was a human much worse than the student. As soon as she saw me, she grabbed me by the neck and threw me outdoors. i) Who was much worse than the student? ii) Why did she throw it outdoors? 4. Their father, a widower, a well –known singer at La scala, had been killed in the early part of the war. i) What was the father of Nicola and Jacopo? ii) Was he alive? 5. Dryden said he preferred to write verse that is rhymed because “ I often had a very happy thought as a result of looking for a rhyme”. i) Did „looking for a rhyme‟ help Dryden become more imaginative? ii) Name the lesson from which this line is taken. V. Complete each sentence with a suitable adverbs from the list given below: (10) slowly politely deeply generously readily happily thoroughly peacefully skillfully quickly 1. The boy walked into the room _______ 2. She is sleeping ________ 3. Asha spoke_________ 4. The children were playing ________in the park 5. She _______got up from her seat. 6. She ________contributed to the relief fund. 7. Ram was ______moved by the sight 8. Sumi _______answered all my questions. 9. The mechanic ________examined my car. 10. He has made the statue _________ VI. Fill in the blanks with suitable Articles ( a, an or the): (10) 1. She turned off _______television, when the phone range . 2. How many of you like _______music of Beethoven? 3. _______apple a day keeps the doctor away. 4. I like _______furniture in your drawing room. 5. _______hen lays eggs 6. ________eve is a female sheep 7. ______orange is rich in vitamin C. 8. This is _____bag I bought yesterday. 9. ______water in this pond is dirty. 10. Shall we go to _______cathedral? VII. Complete each sentence with appropriate prepositions from those given in brackets: (10) (in, with, above, about, for, to against, at, on, below) 1. They deal ________computer accessories. 2. Are you not concerned __________the children? 3. He has been nominated ______the job. 4. Some people mistake me ________my brother 5. His answer ______the question was clear. 6. His action offends ________morality 7. He prefers swimming _________running. 8. David is hopeless ______cricket 9. The temperature is _________390 Celsius today. 10. It is worth listening ________his speech. VIII. Construct a story by using the hints given below: (10) Thief – steal horse – traveller complaint to judge – judge ask thief– blind eye – horse – left or right – thief‟s reply – eye – horse not blind – horse returned to traveller – thief –punished. IX. Read the following passage and answer the questions given below: 10 Motilal Nehru said that the daughter of Nehru might prove to be better than the thousand sons. This was his prophecy about his granddaughter . Indira‟s mother told her stories from the Hindu mythology and Epics. Indira was very much influenced by these stories. Nehru‟s writings brought Indira a fresh outlook. They aroused in her a feeling of concern for people and interest in the world. She went with her father to various places and gained a lot of experience – meeting – debating and discussing with national leaders. Later Mrs. Indira Gandhi acted bravely in all situations. She brought discipline during emergency. She put an end to terrorism in Punjab though military action. But atleast two of her own security guards shot her dead. 1) What was Motilal‟s prophecy about his granddaughter? 2) How did Indira‟s mother motive her? 3) How did Jawaharlal Nehru inspire her through his writings? 4) What did Mrs. Indira Gandhi gain by accompanying he r father to various places? 5) Did she die a natural death? **** ST. XAVIER'S COLLEGE (AUTONOMOUS), PALAYAMKOTTAI - 627 002. SEMESTER EXAMINATIONS – NOVEMBER – 2016 12UEL51 B. A -ENGLISH LIT. SEMESTER - V PAPER : BRITISH LITERATURE - III Time : 3 Hrs. MAX. MARKS: 100 Reg. No. : PART – A Answer ALL the Questions: (20x1=20) Choose the correct Answer: Answer 1. When did Wordsworth first visit Tintern Abbey? a. 1973 b. 1793 c. 1333 d. 1873 2. Whom does Wordsworth refer as „my dear sister‟ in “Tintern Abbey”? a. Deborah b. Dorothy c. Delilah d. Dora 3. What did the ancient mariner shoot with his cross bow? a. a lion b. a shark c. an Albatross d. a vulture 4. The author of “The Ancient Mariner” is a. William Wordsworth b. John Keats c. Shelley d. Coleridge 5. “Heard melodies are sweet, but those unheard Are sweeter-, therefore, ye soft pipes, play on; These lines occur in _______________ a. The Ancient Mariner b. Ode to west Wind c. Tintern Abbey d. Ode on a Grecian Urn 6. “Ode on a Grecian Urn” was written in a. 1956 b. 1829 c. 1920 d. 1819 7. In the fifth stanza of “Ode to the West Wind”, the poet asks the West Wind to turn him into a ________ a. a Guitar b. a pipe c. a lyre d. a cymbal 8. The west wind awakened the_______ lulled by the sound of the clear streams flowing into a a. Dead Sea b. Mediterranean Sea c. Red sea d. Reed sea 9. Mrs. Field in “Dream Children” lived a great mansion in a. Dorset b. Berkshire c. Oxfordshire d. Norfolk 10. What is the pen name of Charles Lamb? a. Elia b. Elima c. Eliza d. Elvin 11. The name of the castle mentioned in “The Praise of Chimney Sweepers” a. Arundel b. Batrurn c. Ascanius d. None of the above 2 12. What according to Hazlitt is One of the pleasantest things in the world? a. studying abroad b. going a journey c. fishing d. hunting 13. Talisman, a novel by Sir Walter Scott was published in 1825 as the second of his a. Tales of love b. Tales of the Crusaders c. Tales of Affection d. Tales of friendliness 14. Who shows Kenneth a crypt containing a piece of the cross of Christ in Talisman a. Richard b. Lady Edith c. Theodorick d. El Hakim 15. ________is the Knight of the Couchant Leopard. a. Colonel John b. El Hakim c. Theodre d. Sir Kenneth 16. In the end Talisman, the young prince was married to a. Lady Edith b. Guenevra c. Queen Berengana d. None of the above 17. ______is the last of the Benetts a. Catherine b. Mary c. Lydia d. Elizabeth 18. _________is the master of Pemberley a. Mr. Bingley b. Mr. Benett c. Mr. Collins d. Mr. Darcy 19. _________ is the cousin of Mr. Bennet, a. Mr. Bennet b. Mr. William Collins c. Mr. Eddy d. None of these 20. The protagonist of “Pride and Prejudice” by Jane Austen is a. Elizabeth Bennet b. Collins c. Darcy c. Cathy 3 ST. XAVIER'S COLLEGE (AUTONOMOUS), PALAYAMKOTTAI - 627 002. SEMESTER EXAMINATIONS – NOVEMBER – 2016 12UEL51 B. A - ENGLISH LIT. SEMESTER - V PAPER : BRITISH LITERATURE - III Time : 3 Hrs. MAX. MARKS: 100 Reg. No. : PART – B II. Answer any ONE of the following In about 300 words: (15) 21. Tintern Abbey is a poem, addressing memory, mortality, faith in nature, and familial love - Elucidate. 22. “The Ancient Mariner” is in many ways a portrait of imprisonment and its inherent loneliness and torment - Explain. 23. How does Shelley in” Ode to the West Wind” explicitly links nature with art by finding powerful natural metaphors with which to express his ideas about the power, import, quality, and ultimate effect of aesthetic expression? III. Answer any ONE of the following In about 300 words: (15) 24. Bring out the Biographical elements of Lamb‟s life in “Dream Children: A Reverie”. 25. What does Lamb depict through “The Praise of Chimney Sweepers”. 26. William Hazlitt‟s “Going a Journey” is an essay that explains his views on a Journey – Elucidate. IV. Answer any ONE of the following In about 300 words: (15) 27. How does Walter Scott make history serve his own purpose by inventing characters and situations and blending them with real people and historical events? Explain. 28. How is Elizabeth different from the rest of the Bennet family? What does the contrast reveal about her character? 29. Compare and contrast the Bingley-Darcy relationship with the Jane- Elizabeth relationship. V. Annotate any FOUR of the following: (4X5=20) 30.
Load more

Recommended publications
  • Prometheus and Pygmalion." Critical Practice: Philosophy and Creativity
    McQuillan, Martin. "Prometheus and Pygmalion." Critical Practice: Philosophy and Creativity. London: Bloomsbury Academic, 2019. 113–137. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781472544391.0010>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 00:48 UTC. Copyright © Martin McQuillan 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 4 Prometheus and Pygmalion In the Metamorphoses, Ovid tells the stories of two possible models for the relation between philosophy and creativity.1 They are two of the foundational myths of our understanding of art and civilization, the tales of Prometheus and Pygmalion. In this chapter, we will look at both stories with a view to better understanding the paradoxes of critical practice, each tale providing us with a different point of entry to the complexities of artistic practice and philosophical thought. The story of Prometheus has its fullest elaboration in Hesiod’s Theogony and we will attend to this tale in the second half of the chapter.2 The myth of Pygmalion also has several versions including many neoclassical and more contemporary re-tellings.3 The stories represent two different paradigms for creation, although they contain overlapping elements. The case of Prometheus is a model for creation that emphases theft and punishment, while the story of Pygmalion offers us an account of creation based upon illusion and misidentification. The former is a tale of inscription and disruption, the latter myth concerns representation and misreading.
    [Show full text]
  • Complete Stories by Franz Kafka
    The Complete Stories by Franz Kafka Back Cover: "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York. The foreword by John Updike was originally published in The New Yorker.
    [Show full text]
  • Laughing with Kafka After Promethean Shame
    PROBLEMI INTERNATIONAL,Laughing with vol. Kafka 2, no. 2,after 2018 Promethean © Society for Shame Theoretical Psychoanalysis Laughing with Kafka after Promethean Shame Jean-Michel Rabaté We have learned that Kafka’s main works deploy a fully-fledged political critique whose main weapon is derision.1 This use of laughter to satirize totalitarian regimes has been analyzed under the name of the “political grotesque” by Joseph Vogl. Here is what Vogl writes: From the terror of secret scenes of torture to childish officials, from the filth of the bureaucratic order to atavistic rituals of power runs a track of comedy that forever indicates the absence of reason, the element of the arbitrary in the execution of power and rule. How- ever, the element of the grotesque does not unmask and merely denounce. Rather it refers—as Foucault once pointed out—to the inevitability, the inescapability of precisely the grotesque, ridicu- lous, loony, or abject sides of power. Kafka’s “political grotesque” displays an unsystematic arbitrariness, which belongs to the func- tions of the apparatus itself. […] Kafka’s comedy turns against a diagnosis that conceives of the modernization of political power as 1 This essay is a condensed version of the second part of Kafka L.O.L., forthcoming from Quodlibet in 2018. In the first part, I address laughter in Kaf- ka’s works, showing that it takes its roots in the culture of a “comic grotesque” dominant in Expressionist German culture. Günther Anders’s groundbreaking book on Kafka then highlights the political dimensions of the work while criti- cizing Kafka’s Promethean nihilism.
    [Show full text]
  • The Complete Stories
    The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York.
    [Show full text]
  • The Fragments Around Franz Kafka's “A Report to an Academy”
    humanities Article Narrative Transformed: The Fragments around Franz Kafka’s “A Report to an Academy” Doreen Densky Department of German, New York University, 19 University Place, 3rd Floor, New York, NY 10003, USA; [email protected] Academic Editor: Joela Jacobs Received: 7 February 2017; Accepted: 6 April 2017; Published: 10 April 2017 Abstract: Franz Kafka’s “A Report to an Academy”, in which the ape-turned-human Rotpeter provides a narrative account of his life, has been scrutinized with regard to its allegorical, scientific, and historical implications. This article shifts the focus toward the narrative set-up by closely reading the transformation that can be traced in the sequence of several narrative attempts found in Kafka’s manuscripts. Analyzing the fragments around this topic, I show how Kafka probes different angles—from a meeting between a first-person narrator and Rotpeter’s impresario and a dialogue between the narrator and Rotpeter, via the well-known “Report” itself, on to a letter by one of Rotpeter’s former teachers—that reveal a narrative transformation equally important as the metamorphosis from animal to human. The focus on the narrative constellations and on the lesser-known constitutive margins of the “Report” help to better understand, moreover, the complex relationship between immediacy and mediation, the ethnological concern of speech for the self and the unknown animal other, and poetological questions of production, representation, and reception. Keywords: animal narrators; human-animal studies; Franz Kafka; manuscripts; speaking-for; narrative representation; literary representation 1. Introduction Franz Kafka’s famous text narrated by an ape who has become human, “A Report to an Academy” (“Ein Bericht für eine Akademie”), was penned one hundred years ago, in 1917 [1–5].
    [Show full text]
  • Hybrid Monsters
    HYBRID MONSTERS IN THE CLASSICAL WORLD THE NATURE AND FUNCTION OF HYBRID MONSTERS IN GREEK MYTHOLOGY, LITERATURE AND ART by Liane Posthumus Thesis presented in partial fulfilment of the requirements for the degree Master of Philosophy in Ancient Cultures at the University of Stellenbosch Supervisor: Prof. J.C. Thom Co-supervisor: Dr. S. Thom Faculty of Arts and Social Sciences Department of Ancient Studies March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the authorship owner thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 28 February 2011 Copyright © 2010 University of Stellenbosch All rights reserved i ABSTRACT The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of man- horse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity.
    [Show full text]
  • The Project Gutenberg Ebook of Bulfinch's Mythology: the Age of Fable, by Thomas Bulfinch
    The Project Gutenberg EBook of Bulfinch's Mythology: The Age of Fable, by Thomas Bulfinch This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Bulfinch's Mythology: The Age of Fable Author: Thomas Bulfinch Posting Date: February 4, 2012 [EBook #3327] Release Date: July 2002 First Posted: April 2, 2001 Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK BULFINCH'S MYTHOLOGY: AGE OF FABLE *** Produced by an anonymous Project Gutenberg volunteer. BULFINCH'S MYTHOLOGY THE AGE OF FABLE Revised by Rev. E. E. Hale CONTENTS Chapter I Origin of Greeks and Romans. The Aryan Family. The Divinities of these Nations. Character of the Romans. Greek notion of the World. Dawn, Sun, and Moon. Jupiter and the gods of Olympus. Foreign gods. Latin Names.-- Saturn or Kronos. Titans. Juno, Vulcan, Mars, Phoebus-Apollo, Venus, Cupid, Minerva, Mercury, Ceres, Bacchus. The Muses. The Graces. The Fates. The Furies. Pan. The Satyrs. Momus. Plutus. Roman gods. Chapter II Roman Idea of Creation. Golden Age. Milky Way. Parnassus. The Deluge. Deucalion and Pyrrha. Pandora. Prometheus. Apollo and Daphne. Pyramus and Thisbe. Davy's Safety Lamp. Cephalus and Procris Chapter III Juno. Syrinx, or Pandean Pipes. Argus's Eyes. Io. Callisto Constellations of Great and Little Bear. Pole-star. Diana. Actaeon. Latona. Rustics turned to Frogs. Isle of Delos. Phaeton.
    [Show full text]
  • The Complete Stories by Franz Kafka
    Franz Kafka: The Complete Stories by Franz Kafka Ebook Franz Kafka: The Complete Stories currently available for review only, if you need complete ebook Franz Kafka: The Complete Stories please fill out registration form to access in our databases Download here >> Paperback: 488 pages Publisher: Schocken Books Inc.; Reprint edition (November 14, 1995) Language: English ISBN-10: 0805210555 ISBN-13: 978-0805210552 Product Dimensions:5.2 x 1 x 8 inches ISBN10 0805210555 ISBN13 978-0805210 Download here >> Description: The Complete Stories brings together all of Kafka’s stories, from the classic tales such as “The Metamorphosis,” “In the Penal Colony,” and “A Hunger Artist” to shorter pieces and fragments that Max Brod, Kafka’s literary executor, released after Kafka’s death. With the exception of his three novels, the whole of Kafka’s narrative work is included in this volume. Hello All,I recently purchased this book in faith, though I was also frustrated by the lack of information in the book description. So, I will provide here for you the table of contents so that whoever purchases this book from now on can know exactly what they are getting:(By the way, the book is beautifully new & well designed, with the edges of the pages torn, not cut.)When it says the complete stories, it means it. The foreword assures that the book contains all of the fiction that Kafka committed to publication during his lifetime. That meas his novels, which he did NOT intend to be published but left note in his will to be destroyed, are NOT included: The Trial, America, The Castle.
    [Show full text]
  • ©Copyright 2014 Timothy Coombs Critical Conditions
    ©Copyright 2014 Timothy Coombs Critical Conditions: This Signature of the Wound in Franz Kafka’s Shorter Fiction Timothy Coombs A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Richard T. Gray, Chair Eric Ames Richard Block Program Authorized to Offer Degree: Germanics University of Washington Abstract Critical Conditions: The Signature of the Wound in Franz Kafka’s Shorter Fiction Timothy Coombs Chair of the Supervisory Committee: Byron W. and Alice L. Lockwood Professor in the Humanities Richard T. Gray This dissertation explores the significance of wounds in four short texts by Franz Kafka: “Ein Landarzt,” “Das Urteil,” Ein Bericht für eine Akademie,” and “Prometheus.” Rather than reduce the metaphor of the wound to biographical or psychoanalytic principles, two approaches that have predominated scholarship on these texts, this study examines how the wound promotes a critical undecidability in Kafka’s language: a condition in which body and body of text demand and defy “treatment” on several levels. Using a variety of rhetorical, narratological, and philological evidence, this dissertation argues how woundedness functions as a “critical condition” in these texts that paradoxically extends and enriches their interpretive life — an openness that resists closure of any form. Acknowledgements This dissertation would not have been possible without the continuous support and encouragement of Rick Gray, whose Graduate seminar on Kafka inspired me to first open this wound, but whose mentorship helped me finally close it. I extend a similar sense of gratitude to my reading committee, Eric Ames and Richard Block, who always expressed an interest in my work, as well as to my friends and colleagues in Germanics department, especially Jan Hengge, Jasmin Krakenberg, and Nathan Magnusson.
    [Show full text]
  • Siegfried Kracauer
    Warning Concerning Copyright Restrictions The Copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish ci photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. THE MASS ORNAMENT WEIMAR ESSAYS • • • SIEGFRIED KRACAUER Translated, Edited, and with an Introduction by Thomas Y. Levin Harvard University Press Cambridge, Massachusetts London, England 1995 For Tl Copyright© 1995 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America This book was originally published as Das Ornament der Masse: Essays, by Suhrkamp Verlag, copyright© 1963 by Suhrkamp Verlag. This book is printed on acid-free paper, and its binding materials have been chosen for strength and durability. LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Kracauer, Siegfried, 1889-1966. [Ornament der Masse. English] The mass ornament: Weimar essays I Siegfried Kracauer; translated, edited, and with an introduction by Thomas Y. Levin. p. cm. Originally published as: Das Ornament der Masse: Essays, by Suhrkamp Verlag, cl 963. Includes bibliographical references and index. ~ ISBN 0-674-55162-1. - ISBN 0-674-55163-X (pbk.) I. Levin, Thomas Y. II. Title. AC35.K64613 1995 081-dcZO 94-47397 CIP Fran~ ON H,s Pos A collection of unpublished pr, Franz Kafka has recently appeai China, 1 a volume put together I writer and guardian of his estate Schoeps.
    [Show full text]
  • Franz Kafka's
    Kafka and the Universal Interdisciplinary German Cultural Studies Edited by Irene Kacandes Volume 21 Kafka and the Universal Edited by Arthur Cools and Vivian Liska An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-045532-8 e-ISBN (PDF) 978-3-11-045811-4 e-ISBN (EPUB) 978-3-11-045743-8 ISSN 1861-8030 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2016 Walter de Gruyter GmbH, Berlin/Boston Cover image: Franz Kafka, 1917. © akg-images / Archiv K. Wagenbach Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Table of Contents Arthur Cools and Vivian Liska Kafka and the Universal: Introduction 1 Section 1: The Ambiguity of the Singular Stanley Corngold The Singular Accident in a Universe of Risk: An Approach to Kafka and the Paradox of the Universal 13 Brendan Moran Philosophy and Ambiguity in Benjamin’s Kafka 43 Søren Rosendal The Logic of the “Swamp World”: Hegel with Kafka on the Contradiction of Freedom 66 Arnaud Villani The Necessary Revision of the Concept of the Universal: Kafka’s “Singularity” 90 Section 2: Before the Law Eli Schonfeld Am-ha’aretz: The Law of the Singular.
    [Show full text]
  • In That So Clare's Sonnets Green the Requirements for the Degree Of
    ne, ne « / +• In That So Gentle Skys A Study of John Clare’s Sonnets Richard L. Gillin A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1971 í» © 1972 Richard Lewis Gillin ALL RIGHTS RESERVED ii ABSTRACT In 1820 John Clare became the most popular literary figure in London following the appearance of his Poems Descriptive of Rural Life and Scenery. By 1827, after the publication of three subse­ quent volumes of poetry, he was virtually ignored even though his poetic abilities had increased significantly. In this study the nature of John Clare’s achievement as a poet was analyzed in con­ junction with his sonnets. Clare’s best work appears in his short poems. The sonnets he wrote indicate his concerns and suggest the degree of his maturity as a lyric poet. The significant biographical and historical influences on Clare have been delineated in association with his poetry. An examination of the poems in each volume of poetry published during his lifetime revealed that the sonnets reflect the major impetus of each volume as well as suggesting the direction his later work would take. Experiments with sonnet forms such as the Shakespearian and regular innovative forms of Clare’s own creation are traced and analyzed. As a fledgling poet Clare's greatest problem was to reconcile the various elements of his perception and verse. Often, it has been shown, there is a cleavage between the subject matter and the speaker’s response to the subject in the early sonnets.
    [Show full text]