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Double Vision, 320 Pages
Double Vision, 320 pages DOWNLOAD http://bit.ly/1VSpSar http://www.goodreads.com/search?utf8=%E2%9C%93&query=Double+Vision Double Vision is Pat Barker's thought-provoking Booker Prize-winning novel of modern warfare. Provocative, intense and deeply moving, Double Vision is a powerful story of one man's quest to find redemption amidst the horror of twenty-first-century war. Returning to Afghanistan after his photographer friend is killed by a sniper, war reporter Stephen Sharkey seeks release from his nightmares in an England seemingly at peace with itself. Questioning man's inhumanity to man both abroad and at home, and whether love really can be the great redeemer, Double Vision is a searing novel of conflict in modern times. 'Full of brooding tension. Barker is one of our most significant contemporary novelists' Daily Telegraph 'Barker writes superbly. The reader is drawn on, from page to page' Economist 'Barker has a quite extraordinary ability to combine complexity and clarity and to make both seem parts of the same whole' Sunday Times 'The characters grab hold at the beginning and never loosen their grip. Barker holds us by the sheer beauty of her writing' Financial Times Pat Barker was born in 1943. Her books include the highly acclaimed Regeneration trilogy, comprising Regeneration, which has been filmed, The Eye in the Door, which won the Guardian Fiction Prize, and The Ghost Road, which won the Booker Prize. The trilogy featured the Observer's 2012 list of the ten best historical novels. She is also the author of the more recent novels Another World, Border Crossing, Double Vision, Life Class, and Toby's Room. -
Nadine Gordimer, Jump and Other Stories: “The Alternate Lives I Invent” Abstracts & Bios Abstracts International Conference
Nadine Gordimer, Jump and Other Stories: “the alternate lives I invent” Abstracts & Bios Abstracts International Conference Website: http://www.vanessaguignery.fr/ Contacts : [email protected] 4-5 October 2018 [email protected] ENS de Lyon 15 Parvis René Descartes, Site Buisson (building D8), Conference Room 1 Nadine Gordimer, Jump and Other Stories: “the alternate lives I invent” Abstracts & Biographical presentations International Conference ENS de Lyon 4-5 October 2018 15.00 • COFFEE BREAK 15.30 • Liliane LOUVEL (University of Poitiers) : “‘The Enigma of the Encoun- — PROGRAMME — ter’: a World out of Joint in Nadine Gordimer’s Jump and Other Stories” 16.05 • Hubert MALFRAY (Lycée Claude-Fauriel Saint Etienne - IHRIM): “Traces, Nadine Gordimer, Jump and Other Stories: Tracks and Trails: Hunting for Sense in Nadine Gordimer’s Jump and Other “the alternate lives I invent” Stories” 16.40 • Fiona McCANN (University of Lille): “A Poetics of Liminality: Nadine ENS DE LYON - SITE BUISSON (BUILDING D8), CONFERENCE ROOM 1 Gordimer’s Jump and Other Stories” 20.00 • DINNER THURSDAY 4th OCTOBER 2018 FRIDAY 5th OCTOBER 2018 09.30 • Registration and coffee MORNING SESSION 09.50 • Welcome address by Vanessa GUIGNERY (ENS de Lyon) and Christian GUTLEBEN (University of Nice — Sophia Antipolis) Chair: Pascale TOLLANCE (University Lyon 2) 09.30 • Christian GUTLEBEN (University of Nice — Sophia Antipolis): MORNING SESSION “Metonymy Thwarted: When the Part is Segregated from the Whole in Nadine Gordimer’s Jump and Other Stories” Chair: -
ABSTRACT —The Waters Return“: Myth and Mystery in Graham Swift
ABSTRACT “The Waters Return”: Myth and Mystery in Graham Swift’s Waterland Laura Schrock, M.A. Director: Dr. Richard R. Russell, Ph.D. The following chapter will engage Waterland in isolation from Swift’s other novels and collection of short stories, not because these texts do not mutually illuminate one another, but because Waterland deserves a treatment of the kind of depth that warrants an extended, concentrated study. That chapter seeks specifically to counter several of the blatant misreadings of the narrator’s posture and intent within the novel, and to adequately evaluate that posture and intent as they emerge within the full context of the wealth of literary devices Swift employs, including irony, mythical imagery, and scriptural allusion. The mythical images and allusions that are touched upon by other critics comprise here the central study; close reading, biblical hermeneutics, and specific strains of French feminism will interact to allow for a reengangement of Waterland beyond the exhausted circular terms of deconstructive relativism. “The Waters Return”: Myth and Mystery in Graham Swift’s Waterland by Laura Schrock, B. A. A Thesis Approved by the Department of English ___________________________________ Dianna M. Vitanza, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Dr. Richard R. Russell, Ph.D. ___________________________________ Dr. Luke Ferretter, Ph.D. ___________________________________ Dr. David Clinton, Ph.D. Accepted by the Graduate School August 2008 ___________________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. -
Oscar and Lucinda Free
FREE OSCAR AND LUCINDA PDF Peter Carey | 544 pages | 02 Mar 2011 | FABER & FABER | 9780571270163 | English | London, United Kingdom OSCAR AND LUCINDA | Peter Carey Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. Enabling JavaScript in your browser will allow you to experience all the features of our site. Learn how to enable JavaScript on your browser. Man Booker Prize. NOOK Book. And only the prodigious imagination of Peter Carey could implicate Oscar and Lucinda in Oscar and Lucinda narrative of love and commerce, religion and colonialism, that culminates in a half-mad expedition to transport a glass church across the Outback. He is the author of a collection of stories Oscar and Lucinda five novels. Date of Birth:. These bishops were, for the most part, bishops of Grafton. Once there was a bishop of Wollongong, travelling through. There was also a canon, and various other visiting or relieving reverends. My mother crooked her finger as she Oscar and Lucinda up her teacup. She would not tell the bishops that my great-grandfather's dog-collar was an act of rebellion. Oscar and Lucinda would look at a Victorian clergyman. They would see the ramrod back, the tight lips, the pinched nose, the long stretched neck and never once, Oscar and Lucinda can bet, guess that this was caused by Oscar Hopkins holding his breath, trying to stay still for two minutes when normally—what a fidgeter—he could not manage a tenth of a second without scratching his ankle or crossing his leg. -
ENGL 4431: Contemporary British and Irish Fiction Spring 2020 Course
ENGL 4431: Contemporary British and Irish Fiction Spring 2020 Course Description How have British writers responded to the legacy of two world wars, the end of empire and the Cold War, economic decline (coupled with globalization), and radical changes in racial and sexual politics? This course offers an introduction to contemporary British and Irish fiction in an era of profound political and economic change and social upheaval. We will focus on fiction (novels and at least one film) profoundly influenced by the shadow of war, by immigration from the former colonies, by dramatic shifts in gender relations and sexuality, by class conflict and deindustrialization, by the impact of global capitalism, by media obsessions with urban violence and the underclass, by the so-called war on terror after the events of 2001, and by the question of Ireland in relation to the imperial past and its place in the global present. In light of some of these vast historical transformations, how has British culture adapted to its uneasy geopolitical position? How does a nation that is often nostalgically obsessed with images of its past power and traditions produce literature that might imagine alternative, post-imperial futures? How have Irish writers negotiated that nation’s independence, the legacies of colonial history, and its place in a global economy? “Contemporary literature” is an evolving field, and in attending to how authors engage with the present, we will also explore how fiction helps imagine and shape present and future identities, national and global. The course will cover the period from the 1980s rise of Thatcherism and the New Right through the first decade of the twenty-first century. -
On Rereading Kazuo Ishiguro Chris Holmes, Kelly Mee Rich
On Rereading Kazuo Ishiguro Chris Holmes, Kelly Mee Rich MFS Modern Fiction Studies, Volume 67, Number 1, Spring 2021, pp. 1-19 (Article) Published by Johns Hopkins University Press For additional information about this article https://muse.jhu.edu/article/786756 [ Access provided at 1 Apr 2021 01:55 GMT from Ithaca College ] Chris Holmes and Kelly Mee Rich 1 On Rereading Kazuo f Ishiguro Chris Holmes and Kelly Mee Rich To consider the career of a single author is necessarily an exercise in rereading. It means revisiting their work, certainly, but also, more carefully, studying how the impress of their authorship evolves over time, and what core elements remain that make them recognizably themselves. Of those authors writing today, Kazuo Ishiguro lends himself exceptionally well to rereading in part because his oeuvre, especially his novels, are so coherent. Featuring first-person narrators reflecting on the remains of their day, these protagonists struggle to come to terms with their participation in structures of harm, and do so with a formal complexity and tonal distance that suggests unreli- ability or a vexed relationship to their own place in the order of things. Ishiguro is also an impeccable re-reader, as the intertextuality of his prose suggests. He convincingly inhabits, as well as cleverly rewrites, existing genres such as the country house novel, the novel of manners, the English boarding school novel, the mystery novel, the bildung- sroman, science fiction, and, most recently, Arthurian fantasy. Artist, detective, pianist, clone: to read Ishiguro always entails rereading in relation to his own oeuvre, as well as to the literary canon. -
Addition to Summer Letter
May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays. -
Juliet Annan
David Godwin Associates Ltd -55 Monmouth Street, London WC2H 9DG +44 (0) 207 240 9992 - [email protected] DGA Rights List FBF 2012 David Godwin Associates Ltd -55 Monmouth Street, London WC2H 9DG +44 (0) 207 240 9992 - [email protected] Fiction FIVE STAR BILLIONAIRE by Tash Aw HARVEST by Jim Crace MIMI by Lucy Ellmann WITH MY BODY by Nikki Gemmell HUNTERS IN THE SNOW by Daisy Hildyard UNEXPLODED by Alison MacLeod IN GOD’S HOUSE by Ray Mouton THE WILDINGS by Nilanjana Roy THE BONE SEASON by Samantha Shannon NARCOPOLIS by Jeet Thayil David Godwin Associates Ltd -55 Monmouth Street, London WC2H 9DG +44 (0) 207 240 9992 - [email protected] FIVE STAR BILLIONAIRE by Tash Aw UK: 4th Estate Publication date: February 2013 Bound proofs available US: Spiegel & Grau Length: 150,000 words In this stunning new novel, Tash Aw charts the overlapping lives of migrant Malaysian workers, forging lives for themselves in sprawling Shanghai. Justin is from a family of successful property developers. Phoebe has come to China buoyed with hope, but her dreams are shattered within hours as the job she has come for seems never to have existed. Gary is a successful pop artist, but his fans and marketing machine disappear after a bar-room brawl. Yinghui has businesses that are going well but must make decisions about her life. And then there is Walter, the shadowy billionaire, ruthless and manipulative, ultimately alone in the world. In Five Star Billionaire, Tash Aw charts the weave of their journeys in the new China, counterpointing their adventures with the old life they have left behind in Malaysia. -
Regeneration Study Guide
REGENERATION TEACHERS' NOTES SYNOPSIS The film 'Regeneration' is about a real life encounter that occurred at Craiglockhart War Hospital in 1917 between Dr William HR Rivers (Jonathan Pryce, an army psychologist, and the poet Siegfried Sassoon (James Wilby). The story is also about the young poet Wilfred Owen (Stuart Bunce) whose support from Sassoon enabled him to write poetry encapsulating the horrors of the First World War. Rivers is tormented by doubt about the morality of what is being done in the name of medicine. The film contains vivid imagery of war and death and contrasts the devastation of war with the tenderness of another patient, Billy Prior's, love affair with Sarah a factory girl. The story questions whether those who have been broken by war - or those like Sassoon whose moral courage have removed them from the battle front - can or should achieve regeneration Director Gillies MacKinnon Certificate 15 Running time 113 mins INTRODUCTION “War is an ugly thing, but not the ugliest of things: the decayed and degraded state of moral and patriotic feeling which thinks nothing worth a war, is worse ...A war to protect other human beings against tyrannical injustice; a war to give victory to their own ideas of right and good, and which is their own war, carried on for an honest purpose by their own free choice - is often the means of their regeneration” John Stuart Mill (1806-1873) Philosopher and Economist (Taken from ‘Dissertations and Discussions-The Contest in America’ (1859) which John Stuart Mill wrote in opposition to the proposal that England should side with the slave-owning Confederacy during the American Civil War (1861-1865) As we rapidly approach the end of the twentieth century two events which have taken place over the last hundred years still cast their shadow over the ways in which we think today - the First World War (1914-1918) and the Holocaust. -
Reading Group Gold
Reading Group Gold Border Crossing A Novel by Pat Barker About this Guide The following author biography and list of questions about Border Crossing are intended as resources to aid individual readers and book groups who would like to learn more about the author and this book. We hope that this guide will provide you a starting place for discussion, and suggest a variety of perspectives from which you might approach Border Crossing. ISBN: 978-0-374-70604-3 | 2007 About the Book As this dark, fast, and chilling novel begins, Tom Seymour, a clinical psychiatrist specializing in violent children, rescues a young man who has fallen into the river near Tom’s home in northern England. The young man turns out to be Danny Miller, whom Tom met in a professional capacity thirteen years earlier, when Danny was only ten. In fact, Tom had testified at Danny’s murder trial—and it was his expert opinion that effectively put Danny behind bars. Now Danny is back in Tom’s life, but this reunion really a coinci- dence? And was Tom correct in affirming, all those years ago, that Danny knew right from wrong, knew the implications of his actions, and knew he was committing murder? And what exactly does Danny want from Tom, now that Tom has agreed to help him sort out his troubled past? Border Crossing is a disturbing yet subtle psychological thriller that explores the nature of evil, the possibility of redemption, and the often overlapping problems of truth and identity. Praise “A sparse, headstrong writer whose style is bulletproof modern…[Border Crossing is] chilling and psych- logically persuasive… [Barker’s] unadorned prose delivers a punch when you’re not looking…as frighten- ing as it wise.”—Gail Caldwell, Boston Sunday Globe “Barker creates a sense of menace worthy of Ian McEwan…Border Crossing is replete with sharp, ex- pressive exchanges, hard poetry, and as many enigmas as implacable truths.”— Kerry Fried, The Atlantic Monthly “Barker can tell a story with the verve of a seasoned mystery writer. -
Graham Swift's the Light Of
Connotations Vol. 24.1 (2014/2015) Playing with the Ready-Made: Graham Swift’s The Light of Day A Response to Andrew James* CATHERINE PESSO-MIQUEL Andrew James starts from the premise that The Light of Day (LOD) “has come to be viewed as an intriguing attempt to create serious literature devoid of poetic language” (214). The use of the anonymous passive voice allows him to imply that there is a critical consensus backing this opinion. James asserts in his introduction that in this novel Swift does use clichés “in such a way that they resonate, and we are made to reconsider their meaning,” and that “when the method works, Swift is able to create a literary effect through colloquial language” (214), yet his article shows that he remains inclined to agree more with the negative reviews of the novel, those that disapprove of Swift’s use of clichés and simple, colloquial language. His opinion rests on a restricted definition of “poetic.” The general definition of this word, according to the OED, is “[o]f, belonging to, or characteris- tics of poets or poetry,” but other definitions seem in agreement with Andrew James’s opinion when they equate “poetic language” with a language befitting “poetry, as in being elevated, sublime etc.”1 In response, I will first argue with James about what he deems to be the protagonist’s “naivety” as regards clichés, and about the status of the narrative voice. Then I will focus on the fact that, in my opinion, his analysis of clichés has failed to take into account Swift’s playful humour, and the fact that unpretentious, colloquial language can be used to create a poetic, literary novel.2 *Reference: Andrew James, “Language Matters: An Investigation into Cliché in The Light of Day,” Connotations 22.2 (2012/13): 214-34. -
Introduction: Questions of Class in the Contemporary British Novel
Notes Introduction: Questions of Class in the Contemporary British Novel 1. Martin Amis, London Fields (New York: Harmony Books, 1989), 24. 2. The full text of Tony Blair’s 1999 speech can be found at http://news.bbc. co.uk/2/hi/uk_news/politics/460009.stm (accessed on December 9, 2008). 3. Terry Eagleton, After Theory (New York: Perseus Books, 2003), 16. 4. Ibid. 5. Peter Hitchcock, “ ‘They Must Be Represented’: Problems in Theories of Working-Class Representation,” PMLA Special Topic: Rereading Class 115 no. 1 January (2000): 20. Savage, Bagnall, and Longhurst have also pointed out that “Over the past twenty-five years, this sense that the working class ‘matters’ has ebbed. It is now difficult to detect sustained research interest in the nature of working class culture” (97). 6. Gary Day, Class (London and New York: Routledge, 2001), 202. This point is also echoed by Ebert and Zavarzadeh: “By advancing singularity, hetero- geneity, anti-totality, and supplementarity, for instance, deconstruction has, among other things, demolished ‘history’ itself as an articulation of class relations. In doing so, it has constructed a cognitive environment in which the economic interests of capital are seen as natural and not the effect of a particular historical situation. Deconstruction continues to produce some of the most effective discourses to normalize capitalism and contribute to the construction of a capitalist-friendly cultural common sense . .” (8). 7. Slavoj Žižek, In Defence of Lost Causes (London and New York: Verso, 2008), 404–405 (Hereafter, Lost Causes). 8. Andrew Milner, Class (London: Sage, 1999), 9. 9. Gavin Keulks, ed., Martin Amis: Postmodernism and Beyond (New York: Palgrave Macmillan, 2006), 73.