DOCSLIB.ORG

Downloaded Articles (Source: Project MUSE, 2004–18)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

UCLA UCLA Previously Published Works Title Transpacific Poetics: Ideographic and Prosodic Transpositions in Li- Young Lee’s “Persimmons” and Marilyn Chin’s “Summer Sleep” Permalink https://escholarship.org/uc/item/70j061wc Journal University of Toronto Quarterly, 88(2) ISSN 0042-0247 Authors Cheung, King-Kok Huang, Qinghua Publication Date 2019-08-01 DOI 10.3138/utq.88.2.11 Peer reviewed eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF TORONTO QUARTERLY Volume 88, Number 2, Spring 2019 jonathan locke hart and ming xie World Poetics and Comparative Poetics 91 j. hillis miller Poetics Today? 101 haun saussy A Poetics of Global Trolling 112 sonam kachru and jane mikkelson The Mind Is Its Own Place: Of Lalla’s Comparative Poetics 125 ardis butterfield Medieval Lyric: A Translatable or Untranslatable Zone? 142 tom conley A Pulmonary Machinery: Béroalde de Verville, Les Soupirs amoureux (1583) 160 timothy j. reiss An American-European Road not Taken, or Opportunity Lost? Areitos, Pictographs, and History: Poetics and Politics 177 david a. porter The Early Modern Lyric: A Literary Wilderness of World Literature 195 jahan ramazani Persian Poetry, World Poetry, and Translatability 210 jonathan locke hart Poetry in English as Comparative and World Literature 229 king-kok cheung and qinghua huang Transpacific Poetics: Ideographic and Prosodic Transpositions in Li-Young Lee’s “Persimmons” and Marilyn Chin’s “Summer Sleep” 246 jacob edmond Global Rhythms: Setting the Stage for World Poetry in 1960s London 263 ranjan ghosh Plastic Literature 277 romana huk “A New Global Poetics?” Revisited, Ten Years on: Coming to Terms 292 UNIVERSITY OF TORONTO QUARTERLY Top Downloaded Articles (Source: Project MUSE, 2004–18) ‘Just a Backlash’: Margaret Atwood, Out on Highway 61: Existentialism Feminism, and The Handmaid’s Tale in America (74.4, 2005) (75.3, 2006) Dionne Brand’s Global Intimacies: Rethinking Sexuality and Class in Practising Affective Citizenship Twelfth Night (76.2, 2007) (76.3, 2007) Learning to Talk with Ghosts: Literature Reads Theory: Remarks Canadian Gothic and the Poetics on Teaching with Toni Morrison of Haunting in Eden Robinson’s (74.3, 2005) Monkey Beach (75.2, 2006) The Spirit of Toys: Resurrection Helpless Maidens and Chivalrous and Redemption in Toy Story Knights: Afghan Women in the and Toy Story 2 (74.4, 2005) Canadian Press (78.2, 2009) Autism Fiction: A Mirror of an What If? Writing The Handmaid’s Tale Internet Decade? (79.2, 2010) (75.3, 2006) Talking with Ghosts: Haunting Ethics, Knowledge, and the Need for in Canadian Cultural Production Beauty: Zadie Smith’s On Beauty and (75.2, 2006) Ian McEwan’s Saturday (77.2, 2008) Responsibility, Nostalgia, and the Mythology of Canada Access UTQ’s complete as a Peacekeeper (78.2, 2009) archive at UTQ Online Haunting Physicality: Corpses, uptjournals.press/utq Cannibalism, and Carnality in Margaret Atwood’s Alias Grace and at Project MUSE (75.2, 2006) http://bit.ly/UTQpm utpjournals.press university of toronto quarterly colin hill Editor sebastien drouin, linda hutcheon, and michel lord Associate Editors henry ivry Editorial Assistant EDITORIAL ADVISORY BOARD Professors Robin Elliott, Pierre Karch, Charlie Keil, A.M. Keith, Mark Kingwell, Christina Kramer, Julie LeBlanc, Elizabeth Legge, Laurel MacDowell, Nick Mount, Keren Rice, Lawrence Switzky, S.J. Rupp, Mario J. Valdes Published quarterly by university of toronto press Spring 2019 For subscription rates and information, please visit www.utpjournals.com. Editorial communications should be addressed to the Editor, c/o University of Toronto Quarterly, Jackman Humanities Building, 170 St. George St, Room 735, Toronto, Ont. M5R 2W8 Tel: (416) 667-7810; Fax: (416) 667-7832 Fax toll free in North America: 800-221-9985; e-mail: [email protected]. All inquiries regarding subscriptions and advertising should be addressed to University of Toronto Press, 5201 Dufferin St, Toronto, Ont. M3H 5T8. canada post/u.s. postmaster: Published 4 times annually by the University of Toronto Press. Publications Mail Agreement Number 40600510. u.s. Periodicals Agreement Number 010752. Periodical Postage paid at Tonawanda, NY and additional offices. Send address changes to University of Toronto Press, 5201 Dufferin St., Toronto, Ont. M3H 5T8/University of Toronto Press Inc., 2250 Military Rd., Tonawanda, NY 14150-6000 Opinions expressed in articles and reviews in the University of Toronto Quarterly are those of the contributors and do not necessarily represent the views of the publisher. Indexed in the Academic Search (Alumni Edition, Complete, Elite, Premier, Ultimate), Advanced Placement Source, America: History & Life, Book Review Digest Plus, Canadian Literary Journals, Canadian Periodical Index, CrossRef, Current Contents – Arts & Humanities, Humanities (Abstracts, Full Text), Humanities International (Complete, Index), Humanities Source, Humanities Source Ultimate, International Bibliography of Book Reviews of Scholarly Literature on the Humanities and Social Sciences (IBR), International Bibliography of Periodical Literature on the Humanities and Social Sciences (IBZ), Literary Reference Center, Literary Reference Center Plus, MLA International Bibliography, NA Publishing, OmniFile Full Text, ScholarsPortal, Scopus, SIPX, and Web of Science (Arts & Humanities Citation Index) Copies may be made for personal or internal use. Requests for such copying should be irected to Access Copyright, 1 Yonge Street, 19th floor, Toronto, ON Canada M5E 1E5. This consent does not extend to other kinds of copying, such as copying for general distribution, for advertising or promotional purposes, for creating new collective works, or for resale. Cover photos by Tamara Hawkins. www.utpjournals.com cn-issn 0042-0247 printed in canada © university of toronto press 2019 All rights reserved. Permission to reproduce in whole or in part must be obtained in writing from University of Toronto Press jonathan locke hart and ming xie World Poetics and Comparative Poetics ABSTRACT: Possibly, there cannot be some kind of comprehensive or systematic view of comparative poetry or world poetry but that is not what we are suggest- ing here. The main idea of this special issue is to encourage distinguished scholars to explore the idea in their own way or to interpret particular examples of the comparative and the global in poetics – that is, the theory and practice of poetry – hence, the debate and the conversation among the articles. These multiple points of view open up discussion in many ways that should prompt others to think and 10.3138/utq.88.2.01 work more in the area. Thus, the issue is an exploration and not some fixed theory of comparative and world poetry. Moreover, poetry matters in its vulnerability, fragility, and alternatives or possibilities. Poems – their writing and their reading – 88 are at the heart of this exploration. Almost all of the contributors to this special issue address poems and pay close attention to them. 2 KEYWORDS: world; comparative; poetics; poetry; literature; genre; translation Poetry is perhaps a more neglected genre of world literature than others because poetry does not translate well. Poetry seems to be stubbornly rooted in its native language and embedded in its original cultural context. Thus, it is paradoxical to speak of world poetry as being uprooted or root- lessly “generic,” as some critics have claimed. World poetry has variously been described and evoked as international, transnational, postcolonial, global, or planetary. All of these labels capture some aspects of what world poetry might be; yet they are not quite the same as what is meant by “world poetry.” The “world” still seems to remain an unsurpassable horizon, which seems to “withdraw” as you approach it. Moreover, moving towards the world is always entangled in the essential condition of being already in the world. Currently, there are at least three main operative connotations of world poetry: (1) the sum total of all national or regional poetries, (2) international poetry in circulation and translation, historical and contemporary, and (3) a more restrictive canonical status bestowed upon poets and poetry of international reputation. However, the term “world poetry” does not inno- cently mean a coherent body of literature; recognizing its numerous sources or components does not necessarily imply recognizing its problematics. “Poetics,” which is central to the idea of world poetry, has often been tied to Western theories. “World poetry” is usually taken to mean poetry of the “rest of the world,” apart from Anglo-American or Euro-American poetry. university of toronto quarterly, volume 88, number 2, spring 2019 © university of toronto press doi: 10.3138/utq.88.2.01 92 jonathan locke hart and ming xie But world poetry does not merely supply raw untheorized material for a Western-dominated poetics. Rather, world poetry needs to be seen as an active mode or means of re- thinking and expanding poetics that has been defined by any single literary tradition. This also means that the world in world poetry becomes a non-place from which, paradoxically, the real world discloses and opens itself up for us differently again and again. World poetry offers a model of poetic practice as a space or mode of writing in which the real may present itself and be made available to any reader in any language. Yet this does not contradict the prop- osition that world poetry is concerned with forms of common understanding and feeling
Recommended publications
  • The Music Lover's Poetry Anthology

    The Music Lover's Poetry Anthology

    THE MUSIC LOVER'S POETRY ANTHOLOGY EditedbyHELEN HANDLEY HOUGHTON andMAUREEN MCCARTHY DRAPER A Karen & Michael Brazillef Book PERSEA BOOKS/NEW YORK Contents Foreword xiii Introduction xvii LISTENING TO MUSIC In Music I Czeslaw Milosz 3 On Hearing A Symphony of Beethoven / ? Edna St. Vincent Millay 4 from Magnificat / Bill Holm 5 Listening / Dick Davis 6 Listening to the Koln Concert / Robert Bly 7 The Dumka / B. H. Fairchild 8 Fond Memory / Eavan Boland 10 [Bbssoms at Night] / Issa 11 Sonata / Edward Hirsch 12 Muse I Linda Pastan 13 Earphones / Michael Ryan 14 Elevator Music / Henry Taylor 15 Loud Music / Stephen Dobyns 16 Sunday Morning with the Sensational Nightingales / Billy Collins 17 Radio I Cornelius Eady 19 Country Radio / Daniel Hall 21 The Power of Music to Disturb / Lisel Mueller 23 Music / Charles Baudelaire 25 On Hearing a Flute at Night / Li Yi 26 The Eventual Music / Liam Rector 27 [Heart, Not So Heavy as Mine] / Emily Dickinson 28 To Music, To Becalm His Fever /Robert Herrick 29 Evening Music / May Sarton 31 The Victor Dog / James Merrill 32 A One-Eyed Cat Named Hathaway / Henri Coulette 34 SONGS & SINGING The Choir / Galway Kinnell 37 Music I Anne Porter 38 / Ask My Mother to Sing / Li-Young Lee 40 Where the Breath Is / Adam Zagajewski 41 Songs I Philip Levine 42 from Messiah (Christmas Portions) / Mark Doty 44 Joy I Lisel Mueller 45 The Singer's House / Seamus Heaney 46 First Song / Galway Kinnell 48 [I Shall Keep Singing!] / Emily Dickinson 49 Everyone Sang / Siegfried Sassoon 50 The Composer / W.H.
  • Exhibition Brochure

    Exhibition Brochure

    ‘Now that the trees have spoken’ Ranjit Hoskote ‘Now that the trees have spoken’ presents the work of four artists: Bhuri Bai, Ladoo Bai, Narmada Prasad Tekam and Ram Singh Urveti. Their paintings, which are being exhibited in Mumbai for the first time, form part of a collection built up over the last five years by Dadiba Pundole. They way-mark the process of dialogue that this Bombay-based gallerist and collector has enjoyed with the artists, in the course of his research trips into central India. Born and raised in Madhya Pradesh, the protagonists of ‘Now that the trees have spoken’ represent that emergent third field of artistic production in contemporary Indian culture which is neither metropolitan nor rural, neither (post)modernist nor traditional, neither derived from academic training nor inherited without change from tribal custom. Indeed, as theorists and curators actively engaged with mapping this third field (including J Swaminathan, Jyotindra Jain, Gulammohammed Sheikh and Nancy Adajania) have demonstrated, descriptions such as ‘tribal’ and ‘folk’, although still used as convenient shorthand, are worse than useless. Generated from the typological obsessions of the colonial census, these labels have long been responsible for a dreadful incarceration. They have reduced thousands of individuals to the happenstance of birth, registering them primarily as bearers of community identities rather than as citizens of a Republic. And, once circumscribed as Warlis, Bhils, Gonds or Saoras, these individuals have had to mortgage their free-floating, self-renewing imaginative energies to the regime of the emporium. None of the four artists presented in ‘Now that the trees have spoken’ inherits a primordial ‘folk art’.
  • By Way of Old Petersburg: Desmond O'grady and Russian Poetry

    By Way of Old Petersburg: Desmond O'grady and Russian Poetry

    VTU Review: Studies in the Humanities and Social Sciences Volume 5 Issue 1 2021 “St. Cyril and St. Methodius” University of Veliko Tarnovo By Way of Old Petersburg: Desmond O’Grady and Russian Poetry Alla Kononova University of Tyumen The article takes on a direction which has great potential for further studies of contemporary Irish poetry: studying the work of Irish poets through their relation to Russian literature. It focuses on the reception and reimagining of Russian poetry in the work of Desmond O’Grady, one of the leading figures in Irish poetry, who started writing in the mid-1950s. The article studies three poems by O’Grady which are ad- dressed to his Russian counterparts: “Missing Andrei Voznesensky,” “Joseph Brodsky Visits Kinsale,” and “My City,” a translation from Anna Akhmatova’s “Poem without a Hero.” None of these poems has yet been subject of thorough critical analysis. Each of the poems has become a signpost on O’Grady’s poetic map and an important element of his own “private mythology.” When analysed in the wider context of Irish poetry, they help form a clearer picture of the influence Russian literature has had on contemporary Irish poets. Keywords: comparative literature, Irish literature, contemporary Irish poetry, Desmond O’Grady, Irish-Russian literary connections, Andrei Voznesensky, Joseph Brodsky, Anna Akhmatova. Desmond O’Grady (1935–2014) is one of the most remarkable figures in Irish poetry of the twentieth and twenty-first centuries. He is sometimes described as a phenomenon “unusual among Irish poets of his generation for both his interest in modernist experimentation and his immersion in the poetry of other cultures” (Mills).
  • Persianism in Antiquity

    Persianism in Antiquity

    Oriens et Occidens – Band 25 Franz Steiner Verlag Sonderdruck aus: Persianism in Antiquity Edited by Rolf Strootman and Miguel John Versluys Franz Steiner Verlag, Stuttgart 2017 CONTENTS Acknowledgments . 7 Rolf Strootman & Miguel John Versluys From Culture to Concept: The Reception and Appropriation of Persia in Antiquity . 9 Part I: Persianization, Persomania, Perserie . 33 Albert de Jong Being Iranian in Antiquity (at Home and Abroad) . 35 Margaret C. Miller Quoting ‘Persia’ in Athens . 49 Lloyd Llewellyn-Jones ‘Open Sesame!’ Orientalist Fantasy and the Persian Court in Greek Art 430–330 BCE . 69 Omar Coloru Once were Persians: The Perception of Pre-Islamic Monuments in Iran from the 16th to the 19th Century . 87 Judith A. Lerner Ancient Persianisms in Nineteenth-Century Iran: The Revival of Persepolitan Imagery under the Qajars . 107 David Engels Is there a “Persian High Culture”? Critical Reflections on the Place of Ancient Iran in Oswald Spengler’s Philosophy of History . 121 Part II: The Hellenistic World . 145 Damien Agut-Labordère Persianism through Persianization: The Case of Ptolemaic Egypt . 147 Sonja Plischke Persianism under the early Seleukid Kings? The Royal Title ‘Great King’ . 163 Rolf Strootman Imperial Persianism: Seleukids, Arsakids and Fratarakā . 177 6 Contents Matthew Canepa Rival Images of Iranian Kingship and Persian Identity in Post-Achaemenid Western Asia . 201 Charlotte Lerouge-Cohen Persianism in the Kingdom of Pontic Kappadokia . The Genealogical Claims of the Mithridatids . 223 Bruno Jacobs Tradition oder Fiktion? Die „persischen“ Elemente in den Ausstattungs- programmen Antiochos’ I . von Kommagene . 235 Benedikt Eckhardt Memories of Persian Rule: Constructing History and Ideology in Hasmonean Judea .
  • International Journal of English and Studies (IJOES)

    International Journal of English and Studies (IJOES)

    SP Publications International Journal Of English and Studies (IJOES) An International Peer-Reviewed English Journal www.ijoes.in Vol-1, Issue-4, 2019 ISSN: 2581-8333 Indexed in ________________________________________________________________ GHAZAL: JOURNEY FROM PERSIAN TO ENGLISH ______________________________________________________________________________ Dr. R.P. Singh Professor of English University of Lucknow-226007 ______________________________________________________________________________ Abstract: It is an informative paper on the construct, form, and expansion of Ghazal as a poetic form. The origin of the word ‘Ghazal' goes back to the Arabic word ‘Ghazal' meaning ‘deer' in English. The reference finds roots to the act of hunting a deer. When a hunter shoots a deer in a moonlit night in the Arabian desert, the deer getting pierced with the arrow, runs around helplessly in search of water. In this state, the throat makes the sound like "gaz - gaz". A lover, in the same way, pines for his beloved, and feels emotional bleeding; this leads to the making of Ghazal. The paper discusses various aspects of Ghazal. Key Words: Ghazal, Sher, Matla, Takhallus. The Ghazal is a Persian word referring to a form of Persian poetry. It became popular in Urdu literature later. It is, generally speaking, a form of poetic expression describing platonic love. The locale, tone, and content –almost everything around Ghazal find a lover and his unattained love as the central concern. The narrator almost knows it too well that the meeting of the lovers is unattainable, yet they keep striving till the last. This pang and desire emanate into the verses of Ghazal. The complete Ghazal comprise of Shers (couplets); most of the Ghazal has less than fifteen shers, A good Ghazal has approximately five Shers.
  • Jami and Nava'i/Fani's Rewritings of Hafez's Opening Ghazal

    Jami and Nava'i/Fani's Rewritings of Hafez's Opening Ghazal

    Imitational Poetry as Pious Hermeneutics? Jami and Nava’i/Fani’s Rewritings of Hafez’s Opening Ghazal Marc Toutant To cite this version: Marc Toutant. Imitational Poetry as Pious Hermeneutics? Jami and Nava’i/Fani’s Rewritings of Hafez’s Opening Ghazal. Charles Melville. The Timurid Century, 9, I.B. Tauris, 2020, The Idea of Iran, 9781838606886. hal-02906016 HAL Id: hal-02906016 https://hal.archives-ouvertes.fr/hal-02906016 Submitted on 23 Jul 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Imitational Poetry as Pious Hermeneutics? Jami and Nava’i/Fani’s Rewritings of Hafez’s Opening Ghazal Marc Toutant (CNRS Paris) He was the unique of the age (nadera-ye zaman) and a prodigy of the world (o‘juba-ye jahan). These are the first words with which Dowlatshah Samarqandi begins the notice he devotes to Hafez in his Tazkerat al-sho‘ara in 1486. Then he adds: ‘His excellence (fazilat) and his perfection (kamal) are endless and the art of poetry is unworthy of his rank. He is incomparable in the science of Qur’an and he is illustrious in the sciences of the exoteric (zaher) and the esoteric (baten).’1 Although Hafez died in 1389, his poetry was widely celebrated one century later, as shown by Dowlatshah’s eulogy.
  • Ranjit Hoskote: Signposting the Indian Highway Ranjit Hoskote

    Ranjit Hoskote: Signposting the Indian Highway Ranjit Hoskote

    HERNING MUSEUM OF CONTEMPORARY ART Ranjit Hoskote: Signposting the Indian Highway Ranjit Hoskote You Can’t Drive Down the Same Highway Twice… …as Ed Ruscha might have said to Heraclitus. But to begin this story properly: two artists, two highways, two time horizons a decade apart in India. Atul Dodiya’s memorable painting, ‘Highway: For Mansur’, was first shown at his 1999Vadehra Art Gallery solo exhibition in New Delhi. The painting is dominated by a pair of vultures, a quotation culled from the folios of the Mughal artist Mansur; the birds look down on a highway that cuts diagonally across a desert. The decisiveness of this symbol of progress is negated by a broken-down car that stands right in the middle of it. The sun beats down on the marooned driver, whose ineffectual attempts at repairing his vehicle are viewed with interest by the predators. In the lower half of the frame, Dodiya inserts an enclosure in which a painter, identifiably the irrepressible satirist and gay artist Bhupen Khakhar, bends over his work. Veined with melancholia as well as quixotic humour, this painting prompts several interpretations. Does the car symbolise the fate of painting as an artistic choice, at a time when new media possibilities were opening up; is the car shorthand for the project of modernism? Or is this an elegy for the beat-up postcolonial nation-state, becalmed in the dunes of globalisation? In an admittedly summary reading, ‘Highway: For Mansur’ could be viewed as an allegory embodying a dilemma that has immobilised the artist, even as he contemplates flamboyant encounters with history in the confines of his studio.
  • My Children, Teaching, and Nimrod the Word

    My Children, Teaching, and Nimrod the Word

    XIV Passions: My Children, Teaching, and Nimrod The word passion has most often been associated with strong sexual desire or lust. I have felt a good deal of that kind of passion in my life but I prefer not to speak of it at this moment. Instead, it is the appetite for life in a broader sense that seems to have driven most of my actions. Moreover, the former craving is focused on an individual (unless the sexual drive is indiscriminant) and depends upon that individual for a response in order to intensify or even maintain. Fixating on my first husband—sticking to him no matter what his response, not being able to say goodbye to him —almost killed me. I had to shift the focus of my sexual passion to another and another and another in order to receive the spark that would rekindle and sustain me. That could have been dangerous; I was lucky. But with the urge to create, the intense passion to “make something,” there was always another outlet, another fulfillment just within reach. My children, teaching, and Nimrod, the journal I edited for so many years, eased my hunger, provided a way to participate and delight in something always changing and growing. from The passion to give birth to and grow with my children has, I believe, been expressed in previous chapters. I loved every aspect of having children conception, to the four births, three of which I watched in a carefully placed mirror at the foot of the hospital delivery room bed: May 6, 1957, birth of Leslie Ringold; November 8, 1959, birth of John Ringold; August 2, 1961: birth of Jim Ringold; July 27, 1964: birth of Suzanne Ringold (Harman).
  • FCJ-170 Challenging Hate Speech with Facebook Flarf: the Role of User Practices in Regulating Hate Speech on Facebook

    FCJ-170 Challenging Hate Speech with Facebook Flarf: the Role of User Practices in Regulating Hate Speech on Facebook

    The Fibreculture Journal issn: 1449-1443 DIGITAL MEDIA + NETWORKS + TRANSDISCIPLINARY CRITIQUE issue 23: General Issue 2014 FCJ-170 Challenging Hate Speech With Facebook Flarf: The Role of User Practices in Regulating Hate Speech on Facebook. Benjamin Abraham University of Western Sydney Abstract: This article makes a case study of ‘flarfing’ (a creative Facebook user practice with roots in found-text poetry) in order to contribute to an understanding of the potentials and limitations facing users of online social networking sites who wish to address the issue of online hate speech. The practice of ‘flarfing’ involves users posting ‘blue text’ hyperlinked Facebook page names into status updates and comment threads. Facebook flarf sends a visible, though often non-literal, message to offenders and onlookers about what kinds of speech the responding activist(s) find (un)acceptable in online discussion, belonging to a category of agonistic online activism that repurposes the tools of internet trolling for activist ends. I argue this practice represents users attempting to ‘take responsibility’ for the culture of online spaces they inhabit, promoting intolerance to hate speech online. Careful consideration of the limits of flarf’s efficacy within Facebook’s specific regulatory environment shows the extent to which this practice and similar responses to online hate speech are constrained by the platforms on which they exist. 47 FCJ-170 fibreculturejournal.org FCJ-170 Challenging Hate Speech With Facebook Flarf Introduction A recent spate of high profile cases of online abuse has raised awareness of the amount, volume and regularity of abuse and hate speech that women and minorities routinely attract online.
  • Table of Contents

    Table of Contents

    Table of Contents Where in the World? Introduction to Selections and Research Focus .................. 1 The Art of Translation by Khaled Mattawa ................................ 2 UNIT ONE The Americas The Literature of the Americas by Kimberly Koza Harris ..................... 4 Literary Map of the Americas ...................................... 6 An American Classic: Aztec Creation Story ..................... 8 Oral Traditions Aztec Creation Story traditional story ................... 9 Literary Lens: Juxtaposition Focus on Research: Summarize Findings ................... 14 The Literature of Canada ...................................... 15 N Saul Bellow Herzog novel .................................... 16 Literary Lens: Interior Monologue Focus on Research: Quote Sources ...................... 19 Margaret Atwood At the Tourist Centre in Boston short story ............. 20 Literary Lens: Tone Focus on Research: Conduct a Survey .................... 23 N Alice Munro Day of the Butterfly short story ....................... 24 Literary Lens: Theme Focus on Research: Use a Variety of Sources ................ 35 The Literature of Mexico ...................................... 36 Juan Rulfo You Don't Hear Dogs Barking short story ............... 37 Literary Lens: Imagery Focus on Research: Generate Questions ................... 41 N Octavio Paz Two Bodies poem ................................ 42 Literary Lens: Metaphor Focus on Research: Develop a Thesis Statement.............. 44 Carlos Solórzano Crossroads: A Sad Vaudeville drama .................
  • Spam As the Inheritor of High Modernism

    Spam As the Inheritor of High Modernism

    forty-five.com / papers /22 W@r aga1nst the F1lters: Spam as the Inheritor of High Modernism Octavian Esanu For some time, I have been captivated by a form of writing Reviewed by David Gissen that has been captivating my email inbox. Dictionaries define spam as intrusive, internet-mediated a d v e r t i s i n g — a d e fi n i t i o n w h o s e i n t e r e s t l i e s i nits s u g g e s t i o n o f h o w m u c h n o n - i n t r u s i v e a d v e r t i s i n g i s a l r e a d y a r o u n d u s . S p a m i s n o t l i k e t h i s a m b i e n t a d v e r t i s i n g , o f c o u r s e . I t i s p u r e i n t e n t i o n a l i t y . It resembles those bloodthirsty rainforest leeches with s u c k e r s a t b o t h e n d s t h a t w i l l g e t t o y o u r b l o o d n o m a t t e r h o w s a f e y o u m i g h t f e e l b e n e a t h l a y e r s o f p a n t s , s o c k s , a n d s n e a k e r s .
  • Jim Henson's Fantastic World

    Jim Henson's Fantastic World

    Jim Henson’s Fantastic World A Teacher’s Guide James A. Michener Art Museum Education Department Produced in conjunction with Jim Henson’s Fantastic World, an exhibition organized by The Jim Henson Legacy and the Smithsonian Institution Traveling Exhibition Service. The exhibition was made possible by The Biography Channel with additional support from The Jane Henson Foundation and Cheryl Henson. Jim Henson’s Fantastic World Teacher’s Guide James A. Michener Art Museum Education Department, 2009 1 Table of Contents Introduction to Teachers ............................................................................................... 3 Jim Henson: A Biography ............................................................................................... 4 Text Panels from Exhibition ........................................................................................... 7 Key Characters and Project Descriptions ........................................................................ 15 Pre Visit Activities:.......................................................................................................... 32 Elementary Middle High School Museum Activities: ........................................................................................................ 37 Elementary Middle/High School Post Visit Activities: ....................................................................................................... 68 Elementary Middle/High School Jim Henson: A Chronology ............................................................................................