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John Steinbeck As a Radical Novelist Shawn Jasinski University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2008 John Steinbeck As a Radical Novelist Shawn Jasinski University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Jasinski, Shawn, "John Steinbeck As a Radical Novelist" (2008). Graduate College Dissertations and Theses. 117. https://scholarworks.uvm.edu/graddis/117 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. JOHN STEINBECK AS A RADICAL NOVELIST A Thesis Presented by Shawn Mark Jasinski to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements for the Degree of Master of Arts Specializing in English May, 2008 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts specializing in English. Thesis Examination Committee: Advisor - John ~yhnari,lP$. D +A d)d Chairperson Patrick Neal, Ph. D. /'----I Vice President for Research and Dean of Graduate Studies Date: April 4", 2008 ABSTRACT The radical literary tradition of the 1930‟s inspired many American authors to become more concerned with the struggle of the proletariat. John Steinbeck is one of these authors. Steinbeck‟s novels throughout the 1930‟s and 1940‟s display a lack of agreement with the common Communist principles being portrayed by other radical novelists, but also a definite alignment with several more basic Marxist principles. -
Thackeray's Satire on British Society of the Early Victorian Era Through
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI i MATERIALISM AND SOCIAL STATUS: THACKERAY’S SATIRE ON BRITISH SOCIETY OF THE EARLY VICTORIAN ERA THROUGH REBECCA SHARP CHARACTER IN VANITY FAIR AThesis Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Nadia Octaviani Student Number: 021214111 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 i i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI vi We are what we imagine Our very existence consist in our imagination of ourselves Our best destiny is to imagine who and what we are The greatest tragedy to befall us is to go unimagined N. Scott Nomaday This thesis is dedicated to my family, to my friends, and to my self. vi vi PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI vii ACKNOWLEDGEMENTS I would like to thank those who have given me their affection, support, guidance and criticism in finishing every part of my thesis. First of all, I would like to bestow my gratitude to Allah s.w.t. for guiding and keeping me not to stray from His path and finally finish my thesis. My deepest gratitude is given to my beloved dad and mom, Pak Kun and Mama Ning, who have given me their never-ending affection and prayer to support me through the life. I also thank them for keeping asking patiently on the progress of my thesis. -
From Free Cinema to British New Wave: a Story of Angry Young Men
SUPLEMENTO Ideas, I, 1 (2020) 51 From Free Cinema to British New Wave: A Story of Angry Young Men Diego Brodersen* Introduction In February 1956, a group of young film-makers premiered a programme of three documentary films at the National Film Theatre (now the BFI Southbank). Lorenza Mazzetti, Lindsay Anderson, Karel Reisz and Tony Richardson thought at the time that “no film can be too personal”, and vehemently said so in their brief but potent manifesto about Free Cinema. Their documentaries were not only personal, but aimed to show the real working class people in Britain, blending the realistic with the poetic. Three of them would establish themselves as some of the most inventive and irreverent British filmmakers of the 60s, creating iconoclastic works –both in subject matter and in form– such as Saturday Day and Sunday Morning, The Loneliness of the Long Distance Runner and If… Those were the first significant steps of a New British Cinema. They were the Big Screen’s angry young men. What is British cinema? In my opinion, it means many different things. National cinemas are much more than only one idea. I would like to begin this presentation with this question because there have been different genres and types of films in British cinema since the beginning. So, for example, there was a kind of cinema that was very successful, not only in Britain but also in America: the films of the British Empire, the films about the Empire abroad, set in faraway places like India or Egypt. Such films celebrated the glory of the British Empire when the British Empire was almost ending. -
Alex Hassell Actor
Alex Hassell Actor Alex recently played the leading role of Johannes in THE MINIATURIST, a new three part series for the BBC directed by Guillem Morales. Also currently filming RED SEA DIVING RESORT opposite Chris Hemsworth and Sir Ben Kingsley. He can also be seen in SUBURBICON, a feature film written by the Coen Brothers and directed by George Clooney, opposite Julianne Moore, Oscar Isaac, Matt Damon and Josh Brolin. Agents Olivia Homan Associate Agent [email protected] Gabriella Capisani Actors [email protected] Roles Film Production Character Director Company THE TRAGEDY OF Ross Joel Coen A24 MACBETH RED SEA DIVING RESORT Max Rose Gideon Raff Bron Studios SUBURBICON Louis George Clooney Paramount Pictures ANONYMOUS Spencer [Henry V, Roland Emmerich Anonymous Pictures Hamlet, Romeo] Ltd TWO DOWN John Thomas Matthew Butler Fizz and Ginger Films THE SICK HOUSE Nick Curtis Radclyffe Hopscotch Films COLD MOUNTAIN Orderly Anthony Minghella Mirage CALENDER GIRLS Nigel Cole Buena Vista United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Television Production Character Director Company COWBOY BEPOP Vicious Alex Garcia Lopez Netflix THE MINATURIST Johannes Guillem Morales BBC SILENT WITNESS Simon Nick Renton BBC WAY TO GO Phillip Catherine Morshead BBC BIG THUNDER Abel White Rob Bowman ABC LIFE OF CRIME Gary Nash Jim Loach Loc Film Productions HUSTLE Viscount Manley John McKay BBC A COP IN PARIS Piet Nykvist Charlotte Sieling Atlantique Productions -
Upton Sinclair Against Capitalism
Scientific Journal in Humanities, 1(1):41-46,2012 ISSN:2298-0245 Walking Through The Jungle: Upton Sinclair Against Capitalism George SHADURI* Abstract At the beginning of the 20th century, the American novel started exploring social themes and raising social problems. Upton Sinclair’s novel The Jungle, which appeared in 1906, was a true sensation for American reading community. On the one hand, it described the outra- geous practices of meatpacking industry prevalent at those times on the example of slaughterhouses in Chicago suburbs; on the other hand, it exposed the hapless life of American worker: the book showed what kind of suffering the worker experienced from his thankless work and poor living conditions. Sinclair hoped that the novel, which was avidly read both in America and abroad, would help improve the plight of American worker. However, to his disappointment, the government and society focused their attention exclusively on unhealthy meatpacking practices, which brought about necessary, but still superficial reforms, ignoring the main topic: the life of the common worker. Sinclair was labeled “a muckraker”, whereas he in reality aspired for the higher ideal of changing the existing social order, the thought expressed both in his novels and articles. The writer did not take into account that his ideas of non-violent, but drastic change of social order were alien for American society, for which capitalism was the most natural and acceptable form of functioning. The present article refers to the opinions of both American and non-American scholars to explain the reasons for the failure of Sinclair’s expectations, and, based on their views, concludes why such a failure took place. -
Cultural Representations of the Moors Murderers and Yorkshire Ripper Cases
CULTURAL REPRESENTATIONS OF THE MOORS MURDERERS AND YORKSHIRE RIPPER CASES by HENRIETTA PHILLIPA ANNE MALION PHILLIPS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History, and Music College of Arts and Law The University of Birmingham October 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines written, audio-visual and musical representations of real-life British serial killers Myra Hindley and Ian Brady (the ‘Moors Murderers’) and Peter Sutcliffe (the ‘Yorkshire Ripper’), from the time of their crimes to the present day, and their proliferation beyond the cases’ immediate historical-legal context. Through the theoretical construct ‘Northientalism’ I interrogate such representations’ replication and engagement of stereotypes and anxieties accruing to the figure of the white working- class ‘Northern’ subject in these cases, within a broader context of pre-existing historical trajectories and generic conventions of Northern and true crime representation. Interrogating changing perceptions of the cultural functions and meanings of murderers in late-capitalist socio-cultural history, I argue that the underlying structure of true crime is the counterbalance between the exceptional and the everyday, in service of which its second crucial structuring technique – the depiction of physical detail – operates. -
Scholarship Boys and Children's Books
Scholarship Boys and Children’s Books: Working-Class Writing for Children in Britain in the 1960s and 1970s Haru Takiuchi Thesis submitted towards the degree of Doctor of Philosophy in the School of English Literature, Language and Linguistics, Newcastle University, March 2015 ii ABSTRACT This thesis explores how, during the 1960s and 1970s in Britain, writers from the working-class helped significantly reshape British children’s literature through their representations of working-class life and culture. The three writers at the centre of this study – Aidan Chambers, Alan Garner and Robert Westall – were all examples of what Richard Hoggart, in The Uses of Literacy (1957), termed ‘scholarship boys’. By this, Hoggart meant individuals from the working-class who were educated out of their class through grammar school education. The thesis shows that their position as scholarship boys both fed their writing and enabled them to work radically and effectively within the British publishing system as it then existed. Although these writers have attracted considerable critical attention, their novels have rarely been analysed in terms of class, despite the fact that class is often central to their plots and concerns. This thesis, therefore, provides new readings of four novels featuring scholarship boys: Aidan Chambers’ Breaktime and Dance on My Grave, Robert Westall’s Fathom Five, and Alan Garner’s Red Shift. The thesis is split into two parts, and these readings make up Part 1. Part 2 focuses on scholarship boy writers’ activities in changing publishing and reviewing practices associated with the British children’s literature industry. In doing so, it shows how these scholarship boy writers successfully supported a movement to resist the cultural mechanisms which suppressed working-class culture in British children’s literature. -
Troubled Masculinity at Midlife: a Study of Dickens's Hard Times
235 Troubled Masculinity at Midlife: A Study of Dickens’s Hard Times HATADA Mio Hard Timesで提示される “Fact”と“Fancy”の2つの対照的な世界、あるいは価値観は、一見 すると相反するもののように思われるが、この小説は両者の対立よりもむしろ、両者がいかに 密接な関係を持っているかを暗示しているように思われる。そして、主要な登場人物は複雑に 絡まり合ったこれら2つの世界に、それぞれのやり方で関わりを持ち、反応を示す。興味深い ことに、2つの絡み合う世界は、主要な人物(その多くは中年の男性である)の抱えている問 題とも密接な関係を持っている。本稿ではHard Timesにおける2つの世界を、作品中で直接姿 を現すことのないSissy の父親の存在を手がかりに、中年期の男性が経験するmasculinityの危 機、という観点から再考している。 キーワード:aging, masculinity, gender Introduction It is well known that F. R. Leavis included Hard Times in his work The Great Tradition, calling it “a completely serious work of art” (Leavis 258) with the “subtlety of achieved art” (Leavis 279). Much earlier, John Ruskin estimated the novel as “the greatest” of Dickens’s novels, and asserted that it “should be studied with close and earnest care by persons interested in social questions” (34). Many other critics make much of the aspect of Hard Times as a critique of the contemporary society, and it has often been treated with other industrial novels such as Elizabeth Gaskell’s North and South (1855). Humphry House, for instance, points out that Dickens was “thinking much more about social problems,” and that “Hard Times is one of Dickens’s most thought-about books.” He goes on to assert that “in the ’fi fties, his novels begin to show a greater complication of plot than before” because “ he was intending to use them as a vehicle of more concentrated sociological argument” (House 205). David Lodge, too, affi rms, “Hard Times manifests its identity as a polemical work, a critique of mid-Victorian industrial society dominated by materialism, acquisitiveness and ruthlessly competitive capitalist economics,” which are “represented... by the Utilitarians” (Lodge 69‒70). -
A Writer's Calendar
A WRITER’S CALENDAR Compiled by J. L. Herrera for my mother and with special thanks to Rose Brown, Peter Jones, Eve Masterman, Yvonne Stadler, Marie-France Sagot, Jo Cauffman, Tom Errey and Gianni Ferrara INTRODUCTION I began the original calendar simply as a present for my mother, thinking it would be an easy matter to fill up 365 spaces. Instead it turned into an ongoing habit. Every time I did some tidying up out would flutter more grubby little notes to myself, written on the backs of envelopes, bank withdrawal forms, anything, and containing yet more names and dates. It seemed, then, a small step from filling in blank squares to letting myself run wild with the myriad little interesting snippets picked up in my hunting and adding the occasional opinion or memory. The beginning and the end were obvious enough. The trouble was the middle; the book was like a concertina — infinitely expandable. And I found, so much fun had the exercise become, that I was reluctant to say to myself, no more. Understandably, I’ve been dependent on other people’s memories and record- keeping and have learnt that even the weightiest of tomes do not always agree on such basic ‘facts’ as people’s birthdays. So my apologies for the discrepancies which may have crept in. In the meantime — Many Happy Returns! Jennie Herrera 1995 2 A Writer’s Calendar January 1st: Ouida J. D. Salinger Maria Edgeworth E. M. Forster Camara Laye Iain Crichton Smith Larry King Sembene Ousmane Jean Ure John Fuller January 2nd: Isaac Asimov Henry Kingsley Jean Little Peter Redgrove Gerhard Amanshauser * * * * * Is prolific writing good writing? Carter Brown? Barbara Cartland? Ursula Bloom? Enid Blyton? Not necessarily, but it does tend to be clear, simple, lucid, overlapping, and sometimes repetitive. -
John Wain.Pdf
JOHN W AIN: EL REI'ORNO DE LA TRADICION PICARESCA A LA NOVELA INGLESA En la década de los cincuenta un nombre nuevo aparece en el panorama literario inglés: John Wain. Siendo profesor de literatura inglesa en la Universidad de Reading, a la edad de 28 años, publica su primera novela, Hurry On Down, (1953), que inmediatamente atrae la atención de gran parte de la crítica del momento. Por su protagonista rebelde y crítico del sistema, algunos enmarcan esta obra y a su autor entre los denominados "Angry young Men", 1 grupo de jóvenes escritores que protestan airadamente contra los defectos de su sociedad y cuyo principal representante es el dramaturgo John Osborne con su obra Look Rack in Anger (1956). Otros críticos, sin embargo, asocian aJobo Wain con un grupo de novelistas y poetas anterior conocido como "The Movement",2 y que reúne a nombres tan notables como los de Kingsley Amis, Philip Larkin, Donald Davie, Elizabeth Jennings o ThomGunn. Al margen de la conveniencia o no de adscribir la figura de John Wain a un movimiento literario concreto, 10 cierto es que es uno de los pioneros de las nuevas tendencias que surgen en la literatura inglesa de los años cincuenta. Hurry On Down es una de las primeras novelas de la posguerra que vuelve hacia los cánones realistas tradicionales, después de casi medio siglo de experimentación modernista. Y 10 que es más significativo, con su publicación en octubre de 1953 tiene lugar el retorno de la tradición picaresca a la literatura inglesa. Este camino, que en parte había sido ya iniciado por la obra de William Cooper, Scenes From Provincial Life (1950), 1,_ Cf. -
Country and City in the Proletarian Realist Novel: Kang Kyŏng-Ae's from Wŏnso Pond and Peter Abrahams's Mine
Jacob Sloan. “Country and City in the Proletarian Realist Novel: Kang Kyŏng-ae’s From Wŏnso Pond and Peter Abrahams’s Mine Boy.” Mediations 33.1-2(Fall 2019-Spring 2020) 31-68. www.mediationsjournal.org/articles/ country-and-city Country and City in the Proletarian Realist Novel: Kang Kyŏng-ae’s From Wŏnso Pond and Peter Abrahams’s Mine Boy Jacob Sloan Of course, nothing would circulate inwardly either if the outward were completely solid. Outside, however, life is just as little finished as in the ego which is working on this outside. No thing could be altered in accordance with wishes if the world were closed, full of fixed, even perfected facts. Instead of these there are simply processes…The Real is process; the latter is the widely ramified mediation between present, unfinished past, and above all: possible future. —Ernest Bloch1 Without the revelation of important traits and without an interaction of the characters with world events, objects, the forces of nature and social institutions, even the most extraordinary adventures would be empty and meaningless. —Georg Lukács 2 I. Country, City, and the Proletarian Realist Novel In the past few decades, scholars of proletarian literature have labored to extend the definition of the genre beyond its temporal and national boundaries. Moving beyond the traditional description that grounds literary proletarianism in the years surrounding the Great Depression in the United States, Jim Holstun presents us with a more genre-specific and less time- and nation-bound definition. Reminding us that “[b]ecause the capitalist mode of production is global, so too is the proletariat and the proletarian novel,” Holstun defines the proletarian novel as “a fictional narrative that, 32 Jacob Sloan from a particular proletarian perspective, totalizes the capitalist mode of production in movement.” Holstun argues that because the genre totalizes, it shies away from modernist durée or the “one-day narrative” and moves toward longer-scale narratives of capitalist crisis. -
N.F. Simpson and “The Theatre of the Absurd”
Platform , Vol. 3, No. 1 N.F. Simpson and “The Theatre of the Absurd” Neema Parvini (Royal Holloway, University of London) In 1958, in the Observer , Kenneth Tynan wrote of “a dazzling new playwright,” with his inimitable enthusiasm he declared: “I am ready to burn my boats and promise [that] N.F. Simpson [is] the most gifted comic writer the English stage has discovered since the war” (Tynan 210). Now, in 2008, despite a recent West End revival, 1 few critics would cite Simpson at all and debates regarding the “most gifted comic writer” of the English stage would invariably be centred on Tom Stoppard, Joe Orton, Samuel Beckett or, for those with a more morose sense of humour, Harold Pinter. Part of the reason for Simpson’s critical decline can be put down to protracted periods of silence; after his run of critically and commercially successful plays with The English Stage Company, 2 Simpson only produced two further full length plays: The Cresta Run (1965) and Was He Anyone? (1972). Of these, the former was poorly received and the latter only reached the fringe theatre. 3 As Stephen Pile recently put it, “in 1983, Simpson himself vanished” with no apparent fixed address. The other reason that may be cited is that, more than any other British writer of his time, Simpson was associated with “The Theatre of the Absurd.” As the vogue for the style died out in London, Simpson’s brand of Absurdism simply went out of fashion. John Russell Taylor offers perhaps the most scathing version of that argument: “whether one likes or dislikes N.F.