Melville, Kafka, Hamsun, and Wright DANIEL REES DANIEL
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1 Thomas Mann, World Author: Representation and Autonomy In
Thomas Mann, World Author: Representation and Autonomy in the World Republic of Letters Tobias Boes, University of Notre Dame In her influential study The World Republic of Letters, Pascale Casanova draws a firm line between what she calls “national” and “international” writers. For national writers, “literary aesthetics (because they are connected with political questions) are necessarily neonaturalistic.” International writers, on the other hand, are described as “cosmopolitans and polyglots who, owing to their knowledge of the revolution that have taken place in the freest territories of the literary world, attempt to introduce new norms” (Casanova 110-11). There are a number of different criticisms that could be leveled at this distinction. Here, I want simply to point out the striking similarities between what Casanova alleges are universal sociological categories on the one hand, and a particular historicizing narrative about literary modernism on the other. Casanova insists, for instance, that the struggle for “autonomy,” which she defines as “literary emancipation in the face of political (and national) claims to authority” (39), represents the most distinctive characteristic of international writing. She thereby echoes claims that have been made about “modern” art since at least the late nineteenth century (for an overview of these debates, see Goldstone). Even her remapping of the struggle between “autonomous” and “dependent” modes of thought onto the terms “cosmopolitan” and “national” is echoed by recent trends within modernist scholarship (see for example Walkowitz). This homology is striking, especially since a very different kind of “international writer” (or, as I shall henceforth call them, “world author”) seems to have moved to the foreground in the present day. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
Modernism & Modernist Literature: Introduction
MODERNISM & MODERNIST LITERATURE: INTRODUCTION & BACKGROUND INTRODUCTION Broadly speaking, ‘modernism’ might be said to have been characterised by a deliberate and often radical shift away from tradition, and consequently by the use of new and innovative forms of expression Thus, many styles in art and literature from the late 19th and early 20th centuries are markedly different from those that preceded them. The term ‘modernism’ generally covers the creative output of artists and thinkers who saw ‘traditional’ approaches to the arts, architecture, literature, religion, social organisation (and even life itself) had become outdated in light of the new economic, social and political circumstances of a by now fully industrialised society. Amid rapid social change and significant developments in science (including the social sciences), modernists found themselves alienated from what might be termed Victorian morality and convention. They duly set about searching for radical responses to the radical changes occurring around them, affirming mankind’s power to shape and influence his environment through experimentation, technology and scientific advancement, while identifying potential obstacles to ‘progress’ in all aspects of existence in order to replace them with updated new alternatives. All the enduring certainties of Enlightenment thinking, and the heretofore unquestioned existence of an all-seeing, all-powerful ‘Creator’ figure, were high on the modernists’ list of dogmas that were now to be challenged, or subverted, perhaps rejected altogether, or, at the very least, reflected upon from a fresh new ‘modernist’ perspective. Not that modernism categorically defied religion or eschewed all the beliefs and ideas associated with the Enlightenment; it would be more accurate to view modernism as a tendency to question, and strive for alternatives to, the convictions of the preceding age. -
Syllabus Fall 2018: SAS2A - 19Th Century Scandinavian Literature
Syllabus Fall 2018: SAS2A - 19th Century Scandinavian Literature Bergen, November 2, 2018 Please note that minor changes may occur. Course instructors: Anders M. Gullestad ([email protected], room 420, the HF-building, office hours: Wednesdays 14.15-15) Ole Johan Holgernes ([email protected], room 444, the HF-building) Oda Sagebakken Slotnes ([email protected]) Administrative staff: Student advisor: Guro Sandnes ([email protected], room 430, the HF-building) Exam advisor: Vegard Sørhus ([email protected], room 356, the HF-building) General information: Lectures: Wednesdays 12.15-14, Room 304A, Sydneshaugen ECTS: 15 Language of instruction: English (the course requires spoken and written proficiency in English) Course unit level: Bachelor Grading scale: A-F Course description: When he first issued his passionate call for a socially engaged literature in 1871, the Danish literary critic Georg Brandes came to fundamentally affect several generations of Scandinavian authors. In SAS2A, we will read and discuss major works by a number of the authors writing in the wake of what Brandes termed “the modern breakthrough,” including Henrik Ibsen, August Strindberg, Amalie Skram, J.P. Jacobsen, and Knut Hamsun. In particular, the course will focus on how these writers of the late 19th century came to address questions of gender, sexuality, and morality through their writings. Novels and plays: Henrik Ibsen: A Doll House and The Wild Duck. In: Ibsen’s Selected Plays, Norton Critical Editions Amalie Skram: Fru Inés, translated by Judith Messick and Katherine Hanson, Norvik Press Victoria Benedictsson: Money, translated by Sarah Death, Norvik Press Knut Hamsun: Hunger, translated by Sverre Lyngstad, intro by Jo Nesbø, afterword by Paul Auster, Canongate August Strindberg: Miss Julie and A Dream Play. -
Howwas Ibsen's Modern Drama Possible?
Journal of World Literature 1 (2016) 449–465 brill.com/jwl How Was Ibsen’s Modern Drama Possible? Narve Fulsås University of Tromsø—The Arctic University of Norway [email protected] Tore Rem University of Oslo [email protected] Abstract One of the major renewals in the history of drama is Henrik Ibsen’s “modern tragedy” of the 1880s and 1890s. Since Ibsen’s own time, this renewal has been seen as an achievement accomplished in spite, rather than because, of Ibsen’s Norwegian and Scandinavian contexts of origin. His origins have consistently been associated with provinciality, backwardness and restrictions to be overcome, and his European “exile” has been seen as the great liberating turning point of his career. We will, on the contrary, argue that throughout his career Ibsen belonged to Scandinavian literature and that his trajectory was fundamentally conditioned and shaped by what happened in the intersection between literature, culture and politics in Scandinavia. In particular, we highlight the continued association and closeness between literature and theatre, the contested language issue in Norway, the superimposition of literary and political cleavages and dynamics as well as the transitory stage of copyright. Keywords Ibsen – tragedy – printed drama – The Modern Breakthrough – Georg Brandes – national literature – copyright On several occasions, Franco Moretti has highlighted the reverse relation between the geography of the novel and the geography of “modern tragedy.” Ibsen, whom he holds to be the key figure in this respect, is seen as belonging “to a Scandinavian culture which had been virtually untouched by the novel,” © koninklijke brill nv, leiden, 2016 | doi: 10.1163/24056480-00104003 Downloaded from Brill.com09/26/2021 08:35:18AM via free access 450 fulsås and rem and as causing the most heated controversies exactly in the “great powers” of novelistic production, France and England (Moretti “Moment” 39). -
Check All That Apply)
Form Version: February 2001 EFFECTIVE TERM: Fall 2003 PALOMAR COLLEGE COURSE OUTLINE OF RECORD FOR DEGREE CREDIT COURSE X Transfer Course X A.A. Degree applicable course (check all that apply) COURSE NUMBER AND TITLE: ENG 290 -- Comic Books As Literature UNIT VALUE: 3 MINIMUM NUMBER OF SEMESTER HOURS: 48 BASIC SKILLS REQUIREMENTS: Appropriate Language Skills ENTRANCE REQUIREMENTS PREREQUISITE: Eligibility for ENG 100 COREQUISITE: NONE RECOMMENDED PREPARATION: NONE SCOPE OF COURSE: An analysis of the comic book in terms of its unique poetics (the complicated interplay of word and image); the themes that are suggested in various works; the history and development of the form and its subgenres; and the expectations of comic book readers. Examines the influence of history, culture, and economics on comic book artists and writers. Explores definitions of “literature,” how these definitions apply to comic books, and the tensions that arise from such applications. SPECIFIC COURSE OBJECTIVES: The successful student will: 1. Demonstrate an understanding of the unique poetics of comic books and how that poetics differs from other media, such as prose and film. 2. Analyze representative works in order to interpret their styles, themes, and audience expectations, and compare and contrast the styles, themes, and audience expectations of works by several different artists/writers. 3. Demonstrate knowledge about the history and development of the comic book as an artistic, narrative form. 4. Demonstrate knowledge about the characteristics of and developments in the various subgenres of comic books (e.g., war comics, horror comics, superhero comics, underground comics). 5. Identify important historical, cultural, and economic factors that have influenced comic book artists/writers. -
Nielsen Collection Holdings Western Illinois University Libraries
Nielsen Collection Holdings Western Illinois University Libraries Call Number Author Title Item Enum Copy # Publisher Date of Publication BS2625 .F6 1920 Acts of the Apostles / edited by F.J. Foakes v.1 1 Macmillan and Co., 1920-1933. Jackson and Kirsopp Lake. BS2625 .F6 1920 Acts of the Apostles / edited by F.J. Foakes v.2 1 Macmillan and Co., 1920-1933. Jackson and Kirsopp Lake. BS2625 .F6 1920 Acts of the Apostles / edited by F.J. Foakes v.3 1 Macmillan and Co., 1920-1933. Jackson and Kirsopp Lake. BS2625 .F6 1920 Acts of the Apostles / edited by F.J. Foakes v.4 1 Macmillan and Co., 1920-1933. Jackson and Kirsopp Lake. BS2625 .F6 1920 Acts of the Apostles / edited by F.J. Foakes v.5 1 Macmillan and Co., 1920-1933. Jackson and Kirsopp Lake. PG3356 .A55 1987 Alexander Pushkin / edited and with an 1 Chelsea House 1987. introduction by Harold Bloom. Publishers, LA227.4 .A44 1998 American academic culture in transformation : 1 Princeton University 1998, c1997. fifty years, four disciplines / edited with an Press, introduction by Thomas Bender and Carl E. Schorske ; foreword by Stephen R. Graubard. PC2689 .A45 1984 American Express international traveler's 1 Simon and Schuster, c1984. pocket French dictionary and phrase book. REF. PE1628 .A623 American Heritage dictionary of the English 1 Houghton Mifflin, c2000. 2000 language. REF. PE1628 .A623 American Heritage dictionary of the English 2 Houghton Mifflin, c2000. 2000 language. DS155 .A599 1995 Anatolia : cauldron of cultures / by the editors 1 Time-Life Books, c1995. of Time-Life Books. BS440 .A54 1992 Anchor Bible dictionary / David Noel v.1 1 Doubleday, c1992. -
Governs the Making of Photocopies Or Other Reproductions of Copyrighted Materials
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 a 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. OXFORD WORLD'S CLASSICS OXFORD WORLD'S CLASSICS For over 100 years Oxford World'J Classics have brought readers closer to the morld's great litera·ture. Nom mith over 700 titles-from the 4,ooo-year-old myths ofMesopotamia to the FRANZ KAFKA twentieth century's greatest IW1'els-the series makes available lesser-known as me" as celebrated mriting. The pocket-sized hardbacks ofthe early years contained A Hunger Artist ill/roductiolls by Virginill Woolf, T. S. Eliot, Graham Greene, alld other literalJlfigures mhich eIlriched the experience ofreading. and Other Stories Today the set'ies is recogllizedfor ilsfine scholarship and reliability ill texts that span world liurature, drama and poetry, religion, philosophy, lind politics. Each edition includes perceptive commel/t.ary and essential background information to meet the changing needs ofreaders. Translated by JOYCE CRICK With an Introduction and Notes by RITCHIE ROBERTSON OXFORD UNIVERSITY PRESS 56 A Hunger Artist: Four Stories A Hunger Artist 57 the wider world would be concerned with the affair after all-where, the personal direction of the performer himself, nowadays it is as I shall keep repeating, it has no jurisdiction-I shall not, I admit, completely impossible. -
A Sketch of the Red River Valley
A harvest crew in the Dakota wheat fields, 1887 On the PRAIRIE A Sketch of the Red River Valley KNUT HAMSUN Translated by JOHN CHRISTIANSON KNUT HAMSUN, the Norwegian novelist Hamsun worked for a time in a Madelia who was awarded the Nobel Prize in 1920, lumberyard and later went to Minneapolis is widely knoum as the author of Hunger, as secretary to the Norwegian poet and Uni Pan, and the monumental Growth of the tarian minister, Kristofer Janson. His second Soil, each of which has appeared in several trip in 1886 took him first to Chicago, where American editions. But it is not so well he was a streetcar conductor for a short time. known that he spent several years in the Then during the summer and autumn of United States, and particularly, in Minne 1887, Hamsun hired out as a laborer on a sota. During his first sojourn in the New huge bonanza farm in the Red River Valley. World, from 1882 until the autumn of 1885, Whether he was employed by Oliver Dal rymple cannot now be definitely estab MR. CHRISTIANSON is a native of Mankato and lished. When the season ended, he went a graduate student in history in the University of Minnesota. His previous publications include back to Janson and other friends in Minne an article on the sixteenth century Danish apolis, and remained toith them until his astronomer, Tycho Brahe, which appeared in return to Norway in 1888. His first book, Scientific American for February, 1961. published the folloiving year, was a bitter September 1961 265 attack on the materialism of American The sun was brutal. -
1 Franz Kafka (1883-1924) the Metamorphosis (1915)
1 Franz Kafka (1883-1924) The Metamorphosis (1915) Translated by Ian Johnston, Malaspina University-College I One morning, as Gregor Samsa was waking up from anxious dreams, he discovered that, in his bed, he had been changed into a monstrous vermin. He lay on his armour-hard back and saw, as he lifted his head up a little, his brown, arched abdomen divided up into rigid bow-like sections. From this height the blanket, just about ready to slide off completely, could hardly stay in place. His numerous legs, pitifully thin in comparison to the rest of his circumference, flickered helplessly before his eyes. “What’s happened to me,” he thought. It was no dream. His room, a proper room for a human being, only somewhat too small, lay quietly between the four well-known walls. Above the table, on which an unpacked collection of sample cloth goods was spread out—Samsa was a travelling salesman—hung the picture which he had cut out of an illustrated magazine a little while ago and set in a pretty gilt frame. It was a picture of a woman with a fur hat and a fur boa. She sat erect there, lifting up in the direction of the viewer a solid fur muff into which her entire forearm had disappeared. Gregor’s glance then turned to the window. The dreary weather—the rain drops were falling audibly down on the metal window ledge—made him quite melancholy. “Why don’t I keep sleeping for a little while longer and forget all this foolishness,” he thought. -
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. -
ON PAIN in PERFORMANCE ART by Jareh Das
BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed.