DOCSLIB.ORG

Bataille Reader

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bataille Reader The Bataille Reader Edited by Fred Botting and Scott Wilson • � Blackwell t..b Publishing Copyright © Blackwell Publishers Ltd, 1997 Introduction, apparatus, selection and arrangement copyright © Fred Botting and Scott Wilson 1997 First published 1997 2 4 6 8 10 9 7 5 3 Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 IJF UK Blackwell Publishers Inc. 350 Main Street Malden, MA 02 148 USA All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form Or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher's prior consent in any fo rm of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. British Library Cataloguing in Publication Data A CIP catalogue record for this book is available from the British Ubrary. Library of Congress Cataloging in Publication Data Bataille, Georges, 1897-1962. [Selections. English. 19971 The Bataille reader I edited by Fred Botting and Scott Wilson. p. cm. -(Blackwell readers) Includes bibliographical references and index. ISBN 0-631-19958-6 (hc : alk. paper). -ISBN 0-631-19959-4 (pbk. : alk. paper) 1. Philosophy. 2. Criticism. I. Botting, Fred. 11. Wilson, Scott, 1962- . III. Title. IV. Series. B2430.B3395B382 I 3 1997 848'.91209--dc21 96-51520 CIP Typeset in lOon 12 pt Plantin by Best-set Typesetter Ltd., Hong Kong Contents Acknowledgements vii Introduction: From Experience to Economy 1 Part I Inner Experience 35 1 Chance 37 2 Guilt 55 3 Laughter 59 4 The Torment 64 5 Christ 92 6 Love 94 7 Life 98 8 Poetry 105 9 Autobiographical Note 113 Part II Heterology 119 10 Programme (Relative to Acephale) 121 11 The Psychological Structure of Fascism 122 12 The Use-Value ofD. A. F. de Sade (An Open Letter to My Current Comrades) 147 13 Base Materialism and Gnosticism 160 Part III General Economy 165 14 The Notion of Expenditure 167 15 The Meaning of General Economy 182 16 Laws of General Economy 188 17 The Gift of Rivalry: 'Potlatch' 199 18 Sacrifice, the Festival and the Principles of the Sacred World 210 Part IV Eroticism 221 19 Ma dame Edwarda 223 vi Contents 20 Preface to the History of Eroticism 237 21 Death 242 22 The Festival, or the Transgression of Prohibitions 248 23 The Phaedra Complex 253 24 Desire Horrified at Losing and at Losing Oneself 258 25 The Object of Desire and the Totality of the Real 264 26 Epilogue to the History of Eroticism 271 Part V Sovereignty 275 27 To Whom 277 28 Hegel, Death and Sacrifice 279 29 Letter to X, Lecturer on Hegel 296 30 Knowledge of Sovereignty 301 31 The Schema of Sovereignty 313 32 Un-knowing and its Consequences 321 33 Un-knowing and Rebellion 32'7 34 On Nietzsche: The Will to Chance 330 Bibliography 343 Index 348 Acknowledgements The editors and publishers wish to thank the following for permission to use copyright material: Georges Borchardt, Inc. for Georges Bataille, 'On Nietzsche: The Will to Chance', v. 6, pp. 46-57; 'Program (Relative to Acephale)" v. 2, p. 79; 'Un-knowing and its Consequences', v. 8, pp. 86--8; and 'Autobiographical Note', v. 8, pp. 107-10 from October 36 (1986); copyright © by Editions Gallimard. Marion Boyars Publishers Ltd. for Georges Bataille, 'Madame Edwarda' from My Mother, Madame Edwarda, Th e Dead Man, trans. Austryn Wainhouse (1989) pp. 137-59, copyright © Madame Edwarda 1956 by Jean-Jacques Pauven; translation copyright © 1989 Marion Boyars Publishers. City Lights Publishers for Georges Bataille, Th e Impossible, trans. Roben Hurley (199 1) pp. 147-64, copyright © by Les Editions de Minuit; translation copyright © 1991 by City Lights Books. The Litho Shop, Inc. for Georges Bataille, Guilty, trans. Bruce Boone, intro. Denis Hollier (1988) The Lapis Press, pp. 69-86, 135-8, 139-4 1, copyright © 1961 Editions Gallimard; translation © 1988 by Bruce Boone. Paragon House for Georges Bataille, On Nietzsche, trans. Bruce Boone, intro. Sylvere Lotringer (1992) pp. 17-9, 68-71, 108-16, copyright © 1945 Editions Gallimard; translation copyright © 1992 by Paragon House. State University of New York Press and Editions Gallimard for Georges Bataille, 'The Torment' from Inner Experience, trans. and intro. Leslie Anne Boldt (1988) pp. 33-61, copyright © 1943 Editions Gallimard; translation © 1988 by State University of New York. Telos Press for Georges Bataille, 'The Psychological Structure of Fascism', trans. Carl R Lovett, New Ger­ man Critique, 16 (1979) pp. 64-87. University of Minnesota Press for Georges Bataille, 'Base Materialism and Gnosticism', 'The Use-Value of D A F de Sade' and 'The Notion of Expenditure' from Vision s of Excess: Selected Writings 1927-39, trans. Allan Stoekl, with Carl R Lovitt and Donald M Leslie, Jr. (1985), pp. 45-52, 91-102, 116-29, copyright © 1970 Editions Gallimard; translation copyright © 1993 by the University of Minnesota; and Georges Bataille, 'Letter to X' from Th e Coll ege of Sociology 1937-39, trans. Betsy Wing, intro. Denis Hollier (1988) pp. 89-93, copy­ right © 1979 by Editions Gallimard; translation copyright © by the Univer­ sity of Minnesota. Yale French Studies for Georges Bataille, 'Hegel,Death, viii Acknowledgements and Sacrifice', trans. Jonathan Strauss, Yale French Studies, 78 (1990) pp. 9-28, copyright © 1990 Yale French Studies. Zone Books for Georges Bataille, The AccursedShare, vol. I, trans. Roben Hurley (1988), pp. 19-41, 63-77, copyright © 1988 by Urzone, Inc; Georges Bataille, The Accursed Share, vol. II, trans. Roben Hurley (199 1) pp. 13-8, 79-86, 89-94, 95- 101, 103-19, 187-9 1, copyright © 1991 by Urzone, Inc; Georges Bataille, TheAccursed Share, vol. Ill, trans. Roben Hurley (1991) pp. 197-211, 213- 23, copyright © 1991 by Urzone, Inc; and Georges Bataille, The Theory of Religion, trans. Roben Hurley (1989) pp. 43-61, 109-11, copyright © 1989 by Urzone, Inc. Every et'fon has been made to trace the copyright holders, but if any have been inadvenently overlooked the publishers will be pleased to make the necessary arrangement at the first opponunity. Introduction: From Experience to Economy The Experience of Reading Bataille 'I read the first chapter and felt violently ill.' A colleague returns On Nietzsche. Unread, or read to the limit of tolerance, Bataille's text has nevertheless succeeded in throwing up a 'Bataillean' response. Experiences of nausea, sickness, pain, anguish are among the range of extreme states that concern Bataille precisely to the degree that they are uncontrollable, in so far as they shatter the composed rationality of the isolated individual. In this way, such experiences open on to a mode of communication that exceeds language. Communication, for Bataille, requires 'a being sus­ pended in the beyond of oneself, at the limit of nothingness'. 1 As reluctant and unappetizing as such an entry into communication with a text may be, the involuntary voidance of one reader amply testifies to the disruptive force of Bataille's writing. While the present reader may judge for him or herself, however, there would appear to be nothing in this chapter from On Ni etzsche, notwithstanding the crucifixion of Christ, that is obvi­ ously disgusting at the level of objects represented. Rather, it is perhaps the way that Bataille's writing actively contests systematic codes of academic inscription and takes thought to the limits of comprehension. It is possible that this writing, which attempts to push understanding and empathy to a vertiginous summit, produces the reaction that bypasses or exceeds intel­ lectual appraisal, leaping from reading to feeling in a violent movement that manifests an extreme subjective and corporeal disturbance. The idea of someone throwing up all over one of Bataille's texts is also quite funny, of course. Laughter is frequently a response to repugnance, or to the discomfort of others. As Bataille notes in the Preface to Madame Edwarda, 'laughter is the sign of aversion, of horror' (p. 224). But equally frequently, laughter is a defence mechanism, warding off the horror: 'it is indeed in laughter that we find the justification for a form of castigation, of obloquy' (p. 224). It is quite possible that, in their subjective extremity and their intense seriousness about uncomfortable topics, Bataille's own texts may be subject to laughter, particularly to the derisory mirth of a comfort­ able Anglo-American pragmatic or utilitarian scepticism. But this would be 2 In troduction: From Experience to Economy to miss completely the imponance of Bataille's thought - and Bataille's laughter: What the heany laugh screens us from, what fetches up the bawdy jest, is the identity that exists between the utmost in pleasure and the utmost in pain: the identity between being and non-being, between the living and the death-stricken being, between the knowledge which brings one before this dazzling realization and definitive, concluding darkness ... our laughter here is absolute, going far beyond scorning ridicule of something which may perhaps be repugnant, but disgust for which digs deep under our skin ...the sight of blood, the odour of vomit, which arouse in us the dread of death, sometimes introduce us into a nauseous state -which huns more cruelly than pain. (p. 225) That which is revolting, shocking, that which disarms predictable patterns of thinking and feeling, that which lies at the unhallowed extremes and unavowed interstices of social, philosophical or theoretical frameworks, are the objects of Bataille's fascination.
Load more

Recommended publications
  • Reviews of Recent Publications
    Studies in 20th Century Literature Volume 19 Issue 2 Article 10 6-1-1995 Reviews of recent publications Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons, German Language and Literature Commons, Modern Literature Commons, and the Spanish and Portuguese Language and Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation (1995) "Reviews of recent publications," Studies in 20th Century Literature: Vol. 19: Iss. 2, Article 10. https://doi.org/10.4148/2334-4415.1376 This Book Review is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Reviews of recent publications Abstract Adelson, Leslie A. Making Bodies Making History: Feminism and German Identity by Sander L. Gilman Barrat, Barnaby B. Psychoanalysis and the Post-Modern Impulse: Knowing and Being Since Freud's Psychology by Mitchell Greenberg Calinescu, Matei. Rereading by Laurence M. Porter Donahue, Neil H. Forms of Disruption: Abstraction in Modern German Prose by Burton Pike Feminisms of the Belle Epoque, A Historical and Literary Anthology. Jennifer Waelti-Walters and Steven C. Hause, Eds. (Translated by Jette Kjaer, Lydia Willis, and Jennifer Waelti-Walters by Christiane J.P. Makward Hutchinson, Peter. Stefan Heym: The Perpetual Dissident by Susan M. Johnson Julien, Eileen. African Novels and the Question of Orality by Lifongo Vetinde Kristof, Agota. Le Troisième Mensonge by Jane Riles Laronde, Michel.
    [Show full text]
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930)
    Jennifer Wild, “‘Are You Afraid of the Cinema?’” AmeriQuests (2015) ‘Are you Afraid of the Cinema?’: Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930) In December 1928, the prolific “editor of the Surrealists,” La Librairie José Corti, launched the deluxe, illustrated journal Du Cinéma: Revue de Critique et de Recherches Cinématographiques.1 Its first issue, indeed its very first page, opened with a questionnaire that asked, “Are you afraid of the cinema?” (Fig. 1, 2) The following paragraphs describing the questionnaire’s logic and critical aims were not penned by the journal’s founding editor in chief, Jean- George Auriol (son of George Auriol, the illustrator, typographer, and managing editor of the fin-de-siècle journal Le Chat Noir); rather, they were composed by André Delons, poet, critic, and member of the Parisian avant-garde group Le Grand Jeu. “This simple question is, by design, of a frankness and a weight made to unsettle you. I warn you that it has a double sense and that the only thing that occupies us is to know which you will choose,” he wrote.2 1. Cover, Du Cinéma, No. 1. Pictured: a still from Etudes Sur Paris (André Sauvage, 1928) 2. Questionnaire, “Are You Afraid of the Cinema?” Du Cinéma, No. 1. 1 Unless otherwise noted, all translations are my own. 2 André Delons, “Avez-Vous Peur du Cinéma?” Du Cinéma: Revue de Critique et de Recherches Cinématographiques, 1st Series, no.1, (December 1928), reprint edition, ed. Odette et Alain Virmaux (Paris: Pierre Lherminier Editeur, 1979), 3.
    [Show full text]
  • Of the Omnipotent Mind, Or Surrealism
    UvA-DARE (Digital Academic Repository) The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism Bauduin, T.M. Publication date 2012 Link to publication Citation for published version (APA): Bauduin, T. M. (2012). The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism. Elck Syn Waerom Publishing. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 four Introduction: The unfortunate onset of the 1930s By the end of the 1920s, life was FO turning sour for Breton. Financially, he was floundering. Amorously, he found himself in dire straits: his marriage with Simone Kahn was over, a love affair UR with Lise Meyer had ended badly, his involvement with Nadja had been tragic and the affair with Suzanne Muzard— introduced as ‘X’ at the end of Nadja— The ‘Golden was not going well.
    [Show full text]
  • 2011 Shelf-Registration Document
    welcome ! Shelf-Registration Document 2011 Mercialys – 2011 Shelf-Registration Document 10, rue Cimarosa - 75016 Paris Tél. : +33 01 53 70 23 20 E-mail : [email protected] www.mercialys.com www.mercialys.com Shelf-Registration Document 2011 summary Summary 1. Business review (Financial statements for the year ended December 31, 2011) An excellent year in 2011: robust performance and growth throughout the year . 4 A year during which Mercialys stepped up its value creation strategy further . 4 A year confirming the solidity of Mercialys’s business model . 5 2. Financial report Financial statements . 7 Review of activity in 2011 and lease portfolio structure . 10 Review of consolidated results . 12 Subsequent events . 19 Outlook . 19 Review of the results of the parent Company, Mercialys SA . 20 Subsequent events following the Board of Directors meeting of February 9, 2012 that approved 2011 financial statement . 21 3. Portfolio and Valuation Portfolio valued at Euro 2,640 million at December 31, 2011 . 22 A diversified portfolio of retail assets . 24 Presence in areas with strong growth potential . 25 4. Stock market information Trading volume and share price over the last 18 months (source: Euronext Paris) . 31 Breakdown of share capital and voting rights at January 31, 2012 . 32 Crossing of share ownership thresholds . 32 Share buy‑back program . 33 Shareholders’ agreement . 35 Dividend policy . 36 Communication policy . 37 5. Corporate Governance Board of Directors and Executive Management . 38 Statutory Auditors . 56 Chairman’s Report . 58 Statutory Auditors’ report prepared in accordance with Article L 225. ‑235 of the French Commercial Code (“Code de commerce”), on the report prepared by the Chairman of the Board of Directors of Mercialys .
    [Show full text]
  • Botting Fred Wilson Scott Eds
    The Bataille Reader Edited by Fred Botting and Scott Wilson • � Blackwell t..b Publishing Copyright © Blackwell Publishers Ltd, 1997 Introduction, apparatus, selection and arrangement copyright © Fred Botting and Scott Wilson 1997 First published 1997 2 4 6 8 10 9 7 5 3 Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 IJF UK Blackwell Publishers Inc. 350 Main Street Malden, MA 02 148 USA All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form Or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher's prior consent in any fo rm of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. British Library Cataloguing in Publication Data A CIP catalogue record for this book is available from the British Ubrary. Library of Congress Cataloging in Publication Data Bataille, Georges, 1897-1962. [Selections. English. 19971 The Bataille reader I edited by Fred Botting and Scott Wilson. p. cm. -(Blackwell readers) Includes bibliographical references and index. ISBN 0-631-19958-6 (hc : alk. paper). -ISBN 0-631-19959-4 (pbk. : alk. paper) 1. Philosophy. 2. Criticism. I. Botting, Fred.
    [Show full text]
  • Sretenovic Dejan Red Horizon
    Dejan Sretenović RED HORIZON EDITION Red Publications Dejan Sretenović RED HORIZON AVANT-GARDE AND REVOLUTION IN YUGOSLAVIA 1919–1932 kuda.org NOVI SAD, 2020 The Social Revolution in Yugoslavia is the only thing that can bring about the catharsis of our people and of all the immorality of our political liberation. Oh, sacred struggle between the left and the right, on This Day and on the Day of Judgment, I stand on the far left, the very far left. Be‑ cause, only a terrible cry against Nonsense can accelerate the whisper of a new Sense. It was with this paragraph that August Cesarec ended his manifesto ‘Two Orientations’, published in the second issue of the “bimonthly for all cultural problems” Plamen (Zagreb, 1919; 15 issues in total), which he co‑edited with Miroslav Krleža. With a strong dose of revolutionary euphoria and ex‑ pressionistic messianic pathos, the manifesto demonstrated the ideational and political platform of the magazine, founded by the two avant‑garde writers from Zagreb, activists of the left wing of the Social Democratic Party of Croatia, after the October Revolution and the First World War. It was the struggle between the two orientations, the world social revolution led by Bolshevik Russia on the one hand, and the world of bourgeois counter‑revolution led by the Entente Forces on the other, that was for Cesarec pivot‑ al in determining the future of Europe and mankind, and therefore also of the newly founded Kingdom of Serbs, Cro‑ ats and Slovenes (Kingdom of SCS), which had allied itself with the counter‑revolutionary bloc.
    [Show full text]
  • Papers of Surrealism, Issue 8, Spring 2010 1
    © Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.
    [Show full text]
  • 2011 Activity Report Mercialys – 2011 Activity Report Activity – 2011 Mercialys
    welcome ! 2011 Activity Report Mercialys – 2011 Activity Report Activity – 2011 Mercialys 10, rue Cimarosa - 75016 Paris Tél. : +33 01 53 70 23 20 E-mail : [email protected] www.mercialys.com www.mercialys.com OUr GrOUP Profi le Chairman’s message .................... 2 Corporate Governance ............... 6 2011 Highlights ............................. 8 Key fi gures ................................... 10 OUr ValUes Making you feel at home The Esprit Voisin concept: Mercialys’s trademark ....................................... 14 Refl ecting local identity ..................................... 16 Useful ideas ......................................................... 18 Shopping centers in line with their customers ........................................... 20 Responsible retailers and citizens .................. 22 OUr aiM A new way of looking at retail Valentine Grand Centre shopping center: a story shared with the people of Marseille ............... 26 “Esprit Voisin“ concept at the heart of... ....................... 32 Partnerships creating value ............................................... 37 The art of transformation .................................................. 39 Entrepreneurial spirit .......................................................... 40 2006-11: the Alcudia years ............................................ 42 2012: The “Foncière Commerçante” strategy .............. 43 In 2012, they will also adopt the “Esprit Voisin” concept... ............................................ 44 OUR GROUP MERCIALYS Activity Report
    [Show full text]
  • The Teaching of Russian Culture to Americans: Contemporary Values
    71t .7487 JARVIS, Donald Karl, 1939- THE TEACHING OF RUSSIAN CULTURE TO AMERICANS; CONTEMPORARY VALUES AND NORMS. The Ohio State University, Ph.D., 1970 Education, general University Microfilms, A XEROX Company, Ann Arbor, Michigan © Copyright by Donald Karl Jarvis 1971 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE TEACHING OP RUSSIAN CULTURE TO AMERICANS: CONTEMPORARY VALUES AND NORMS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Donald Karl Jarvis, B.A. ***** The Ohio State University 1970 Approved by Adviser Department of Foreign Language Education ACKNOWLEDGEMENTS The writer wishes to express appreciation to Professor Douglas Card of the Department of Sociology, The Ohio State University, for his interested assistance in siiggesting sources and evaluating the content of Chapter II. Gratitude is also due the reading committee, Professors Edward D. Allen, M. Eugene Gilliora, and Ronald E. Smith for their assistance in locating materials and their wise advice. Professor Smith's support was exceptionally strong throughout the project. Finally, the writer is indebted to his wife, Janelle Jamison Jarvis, for her continued support in this project, for her typing and editing of the manuscript, and for her valuable suggestions on Chapter IV. ii VITA April 6, 1939 . Born - Ithaca, New York 1964 .............. B.A., Brigham Young Univer­ sity , Provo, Utah 1964-1965 .......... Teaching Assistant, Depart­ ment of Foreign Languages, Brigham Young University, Provo, Utah 1965-1966 .......... Teacher of Russian, German, and Mathematics, Beaver High School, Beaver, Utah 1966-1967 .......... Teacher of Russian and United States History, East High School, Salt Lake City, Utah 1967-1970 .....
    [Show full text]
  • Download File
    Eastern European Modernism: Works on Paper at the Columbia University Libraries and The Cornell University Library Compiled by Robert H. Davis Columbia University Libraries and Cornell University Library With a Foreword by Steven Mansbach University of Maryland, College Park With an Introduction by Irina Denischenko Georgetown University New York 2021 Cover Illustration: No. 266. Dvacáté století co dalo lidstvu. Výsledky práce lidstva XX. Věku. (Praha, 1931-1934). Part 5: Prokroky průmyslu. Photomontage wrappers by Vojtěch Tittelbach. To John and Katya, for their love and ever-patient indulgence of their quirky old Dad. Foreword ©Steven A. Mansbach Compiler’s Introduction ©Robert H. Davis Introduction ©Irina Denischenko Checklist ©Robert H. Davis Published in Academic Commons, January 2021 Photography credits: Avery Classics Library: p. vi (no. 900), p. xxxvi (no. 1031). Columbia University Libraries, Preservation Reformatting: Cover (No. 266), p.xiii (no. 430), p. xiv (no. 299, 711), p. xvi (no. 1020), p. xxvi (no. 1047), p. xxvii (no. 1060), p. xxix (no. 679), p. xxxiv (no. 605), p. xxxvi (no. 118), p. xxxix (nos. 600, 616). Cornell Division of Rare Books & Manuscripts: p. xv (no. 1069), p. xxvii (no. 718), p. xxxii (no. 619), p. xxxvii (nos. 803, 721), p. xl (nos. 210, 221), p. xli (no. 203). Compiler: p. vi (nos. 1009, 975), p. x, p. xiii (nos. 573, 773, 829, 985), p. xiv (nos. 103, 392, 470, 911), p. xv (nos. 1021, 1087), p. xvi (nos. 960, 964), p. xix (no. 615), p. xx (no. 733), p. xxviii (no. 108, 1060). F.A. Bernett Rare Books: p. xii (nos. 5, 28, 82), p.
    [Show full text]
  • University Microfilms International 300 N
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]