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The Rediscovery of Man Free Download
THE REDISCOVERY OF MAN FREE DOWNLOAD Cordwainer Smith | 400 pages | 29 Mar 2010 | Orion Publishing Co | 9780575094246 | English | London, United Kingdom The Rediscovery of Man Sure, I can say it has pages of acclaimed stories—every short story that Cordwainer Smith ever wrote. After defeat, after disappointment, after ruin and reconstruction, mankind had leapt among the stars. The Rediscovery of Man Rediscovery of Man, by Cordwainer Smith. The majority of these stories take place 14, yeas into the future, and The Rediscovery of Man this day, present a The Rediscovery of Man worldview, and an astounding examination of human nature. Want to Read Currently Reading Read. This brilliant collection, often cited as the first of its kind, explores fundamental questions about ourselves and our treatment of the universe and other beings around us and ultimately what it means to be human. Cordwainer Smith is a writer like none other. These stories were written in the late 50s, early 60s, and are so intelligent and forward thinking, I'm still stunned. Underpeople do all the hard work, police is made up of robots and telepathic mind control checks that everybody is thinking happy thoughts, or they are sent for re-education. A Cordwainer Smith Panel Discussion. That said, when I said last time that I was relieved that Tiptree's radical feminism never crossed the line into open transphobia, a finger on the monkey's paw curled up and delivered me Smith's "The Tranny Menace from Beyond the Stars" "The Crime and the Glory of Commander Suzdal," about which I have absolutely nothing positive to say. -
Steam Engine Time 5
Steam Engine T ime PRIEST’S ‘THE SEPARATION’ MEMOS FROM NORSTRILIA CENSORSHIP IN AUSTRALIA POLITICS AND SF Harry Hennessey Buerkett James Doig Paul Kincaid Gillian Polack Eric S. Raymond Milan Smiljkovic Janine Stinson Issue 5 September 2006 Steam Engine T ime 5 STEAM ENGINE TIME No. 5, September 2006 is edited and published by Bruce Gillespie, 5 Howard Street, Greensborough VIC 3088, Australia ([email protected]) and Janine Stinson, PO Box 248, Eastlake, MI 49626-0248, USA ([email protected]). Members fwa. First edition is in .PDF file format from eFanzines.com or from either of our email addresses. Print edition available for The Usual (letters or substantial emails of comment, artistic contributions, articles, reviews, traded publications or review copies) or subscriptions (Australia: $40 for 5, cheques to ‘Gillespie & Cochrane Pty Ltd’; Overseas: $US30 or £15 for 5, or equivalent, airmail; please send folding money, not cheques). Printed by Copy Place, 415 Bourke Street, Melbourne VIC 3000. The print edition is made possible by a generous financial donation. Graphics Ditmar (Dick Jenssen) (front cover). Photographs Covers of various books and magazines discussed in this issue; plus photos of (p. 5) Christopher Priest, by Ian Maule; (p. 24) Roger Dard, supplied by Kim Huett; (p. 25) Roger Dard fanzine contributions, supplied by Kim Huett; (p. 32) Nigel Burwood, Martin Stone and Bill Blackbeard, by John Baxter; (p. 39) David Boutland. 3 EDITORIAL 1: 32 Letters of comment ‘Dream your dreams’: A meditation on Babylon 5 John Baxter Janine Stinson Rosaleen Love Steve Jeffery 4 EDITORIAL 2 E. B. Frohvet Bruce Gillespie Steve Sneyd Sydney J. -
Humpty Dumpty's Explanation
Humpty Dumpty’s Explanation Humpty Dumpty’s explanation of the first verse of Jabberwocky from Through the Looking Glass and Alice’s Adventures there. 'You seem very clever at explaining words, Sir,' said Alice. 'Would you kindly tell me the meaning of the poem called "Jabberwocky"?' 'Let's hear it,' said Humpty Dumpty. 'I can explain all the poems that were ever invented--and a good many that haven't been invented just yet.' This sounded very hopeful, so Alice repeated the first verse: 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe. 'That's enough to begin with,' Humpty Dumpty interrupted: 'there are plenty of hard words there. "BRILLIG" means four o'clock in the afternoon--the time when you begin BROILING things for dinner.' 'That'll do very well,' said Alice: and "SLITHY"?' 'Well, "SLITHY" means "lithe and slimy." "Lithe" is the same as "active." You see it's like a portmanteau--there are two meanings packed up into one word.' 'I see it now,' Alice remarked thoughtfully: 'and what are "TOVES"?' 'Well, "TOVES" are something like badgers--they're something like lizards--and they're something like corkscrews.' 'They must be very curious looking creatures.' 'They are that,' said Humpty Dumpty: 'also they make their nests under sun-dials--also they live on cheese.' 'Andy what's the "GYRE" and to "GIMBLE"?' 'To "GYRE" is to go round and round like a gyroscope. To "GIMBLE" is to make holes like a gimlet.' 1 'And "THE WABE" is the grass-plot round a sun-dial, I suppose?' said Alice, surprised at her own ingenuity. -
Spilplus.Journals.Ac.Za
http://spilplus.journals.ac.za http://spilplus.journals.ac.za THE WORLD OF LANGUAGE 2 ITS BEHAVIOURAL BELT by Rudolf P. BOlha SPIL PLUS 25 1994 http://spilplus.journals.ac.za CONTENTS 2 Language behaviour 2.1 General nature: unobservable action 2 2.2 Specific properties 4 2.2.1 Purposiveness 4 2.2.2 Cooperativeness 13 2.2.3 Space-time anchoredness 16 2.2.4 Nonlinguistic embeddedness 18 2.2.5 Innovativeness 21 2.2.6 Stimulus-freedom 22 2.2.7 Appropriateness 24 2.2.8 Rule-governedness 25 2.3 Kinds of language behaviour 26 2.3.1 Forms of language behaviour 27 2.3.1.1 Producing utterances 28 2.3.1.2 Comprehending utterances 30 2.3.1.3 Judging utterances 32 2.3.2 Means of language behaviour 39 2.3.3 Modes of language behaviour 47 2.4 The bounds of language behaviour 51 Notes to Chapter 2 53 Bibliography 62 http://spilplus.journals.ac.za 1 2 Language behaviour In Carrollinian worlds, all sorts of creatures have the remarkable knack of appearing, as it were, from nowhere. For instance, soon after Alice had entered the world created by Gilbert Adair beyond a needle's eye, she witnessed how kittens and puppies, followed by cats and dogs, fell out of the sky: 'Hundreds of cats and dogs .... were pouring down as far as she could see. Once they landed, they would all make a rush for lower ground, gathering there in huddles --- "or puddles, I suppose one ought to say" --- .... ' [TNE 41] In Needle's Eye World, one could accordingly say It rained cats arui dogs, and mean it literally. -
Single-Gendered Worlds in Science Fiction: Better for Whom? Victor Grech with Clare Thake-Vasallo and Ivan Callus
VECTOR 269 – SPRING 2012 Single-gendered Worlds in Science Fiction: Better for Whom? Victor Grech with Clare Thake-Vasallo and Ivan Callus n excess of one gender is a regular and worlds are commoner than men-only worlds is that a problematic trope in SF, instantly removing any number of writers have speculated whether a world Apotential tension between the two sexes while constructed on strict feminist principles might be utopian simultaneously generating new concerns. While female- rather than dystopian, and ‘for many of these writers, only societies are common, male-only societies are rarer. such a world was imaginable only in terms of sexual This is partly a true biological obstacle because the female separatism; for others, it involved reinventing female and body is capable of bringing a baby forth into the world male identities and interactions’.2 after fertilization, or even without fertilization, so that a These issues have been ably reviewed in Brian prospective author’s only stumbling block to accounting Attebery’s Decoding Gender in Science Fiction (2002), in for the society’s potential longevity. For example, which he observes that ‘it’s impossible in real life to to gynogenesis is a particular type of parthenogenesis isolate the sexes thoroughly enough to demonstrate […] whereby animals that reproduce by this method can absolutes of feminine or masculine behavior’,3 whereas only reproduce that way. These species, such as the ‘within science-fiction, separation by gender has been the salamanders of genus Ambystoma, consist solely of basis of a fascinating series of thought experiments’.4 females which does, occasionally, have sexual contact Intriguingly, Attebery poses the question that a single- with males of a closely related species but the sperm gendered society is ‘better for whom’?5 from these males is not used to fertilise ova. -
Alice Through the Looking-Glass Is Presented by Special Arrangement with the Estate of James Crerar Reaney
This production was originally produced at the Stratford Festival in association with Canada’s National Arts Centre in 2014. nov dec 26 19 2015 THEATRE FOR YOUNG AUDIENCES GENEROUSLY SUPPORTED BY STUDY GUIDE Adapted from the Stratford Festival 2014 Study Guide by Luisa Appolloni This production was originally produced at the Stratford Festival in association with Canada's National Arts Centre in 2014. Alice Through the Looking-Glass is presented by special arrangement with the Estate of James Crerar Reaney. 1 THEATRE ETIQUETTE “The theater is so endlessly fascinating because it's so accidental. It's so much like life.” – Arthur Miller Arrive Early: Latecomers may not be admitted to a performance. Please ensure you arrive with enough time to find your seat before the performance starts. Cell Phones and Other Electronic Devices: Please TURN OFF your cell phones/iPods/gaming systems/cameras. We have seen an increase in texting, surfing, and gaming during performances, which is very distracting for the performers and other audience members. The use of cameras and recording devices is strictly prohibited. Talking During the Performance: You can be heard (even when whispering!) by the actors onstage and the audience around you. Disruptive patrons will be removed from the theatre. Please wait to share your thoughts and opinions with others until after the performance. Food/Drinks: Food and hot drinks are not allowed in the theatre. Where there is an intermission, concessions may be open for purchase of snacks and drinks. There is complimentary water in the lobby. Dress: There is no dress code at the Royal Manitoba Theatre Centre, but we respectfully reQuest that patrons refrain from wearing hats in the theatre. -
VECTOR 58 Is Edited by Bob Parkinson, 106 Ingram Avenue, Aylesbury, Bucks
NO 58 JOHN CROMPTON on CORDWAINER SMITH VECTOR N958 VECTORED 2 C'THEME AND M'STYLE IN CORWAINER SMITH John Crompton U CORDWAINER SMITH: A BRIEF PROFILE Bob Parkinson 12 ANDRE NORTON’S WITCH WORLD FANTASIES Fred Oliphant U COMMUNICATION AND ORGANIZATION Keith Freeman 16 BOOKS 17 cover: Judy Evans & Bob Parkinson interior illustrations (delivered at very short notice): David Rowe for "A Planet Named Shayol" VECTOR 58 is edited by Bob Parkinson, 106 Ingram Avenue, Aylesbury, Bucks. Production Manager: Derek J Rolls Advertising Manager: Roger G. Peyton, 131 Gillhurst Road, Birmingham 1 ?• Published by the British Science Fiction Association, Executive Secretary: Mrs A. E. Walton, 25 Yewdale Crescent, Coventry CV2 2FF. JULY 1971 ftrice: 25 p. BETWEEN TWO WORLDS vectored Among my intentions for this column, it has Characteristically, the situation that Mailer found been my aim with each issue to write of one was ambiguous Oriana Fallaci, who had explored much book that has caught my attention in the months the same route earlier in her If The Sun Dies, wrote a immediately before Thus far we have had one book of conversion literature along side St Augustine's sf book written by a "mainstream" author and a Confessions or William Burrough's Nova Express But fantasy written by a non-sf author This time Mailer, sandwiching Apollo 11 between the failure of round I want to discuss a non-sf, non-fiction his mayoraiity campaign in New York and the break-up book written by someone outside the field entir- of his marriage, winds up finding that he is -
ARTICLE: Jan Susina: Playing Around in Lewis Carroll's Alice Books
Playing Around in Lewis Carroll’s Alice Books • Jan Susina Mathematician Charles Dodgson’s love of play and his need for rules came together in his use of popular games as part of the structure of the two famous children’s books, Alice in Wonderland and Through the Looking-Glass, he wrote under the pseudonym Lewis Carroll. The author of this article looks at the interplay between the playing of such games as croquet and cards and the characters and events of the novels and argues that, when reading Carroll (who took a playful approach even in his academic texts), it is helpful to understand games and game play. Charles Dodgson, more widely known by his pseudonym Lewis Carroll, is perhaps one of the more playful authors of children’s literature. In his career, as a children’s author and as an academic logician and mathematician, and in his personal life, Carroll was obsessed with games and with various forms of play. While some readers are surprised by the seemingly split personality of Charles Dodgson, the serious mathematician, and Lewis Carroll, the imaginative author of children’s books, it was his love of play and games and his need to establish rules and guidelines that effectively govern play that unite these two seemingly disparate facets of Carroll’s personality. Carroll’s two best-known children’s books—Alice’s Adventures in Wonderland (1865) and Through the Looking- Glass and What Alice Found There (1871)—use popular games as part of their structure. In Victoria through the Looking-Glass, Florence Becker Lennon has gone so far as to suggest about Carroll that “his life was a game, even his logic, his mathematics, and his singular ordering of his household and other affairs. -
'Twas Brillig, and the Slithy Toves Did Gyre and Gimble in the Wabe: All Mimsy Were the Borogoves, and the Mome Raths Outgrabe
The Jabberwocky By Lewis Carroll 'Twas brillig, and the slithy* toves* Did gyre* and gimble in the wabe: All mimsy* were the borogoves*, And the mome raths outgrabe*. "Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious* Bandersnatch!" He took his vorpal sword in hand: Long time the manxome foe he sought- So rested he by the Tumtum* tree, And stood awhile in thought. And, as in uffish* thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came! One, two! One, two! And through and through The vorpal blade went snicker-snack*! He left it dead, and with its head He went galumphing* back. "And hast thou slain the Jabberwock? Come to my arms, my beamish* boy! O frabjous day! Callooh! Callay!" He chortled* in his joy. 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. slithy: is a variant of "sleathy", meaning slovenly (untidy, messy, lazy); a combination of 'lithe and slimy' - lithe meaning flexible, graceful. toves: rhymes with "groves” (like the pine grove in Bridge to Terabithia). Humpty Dumpty says toves are 'something like lizards and something like corkscrews. They make their nest under sundials and live on cheese.’ gyre: means to turn or whirl around. mimsy: is a nonsense word. Humpty Dumpty says it is a combination of "flimsy and miserable". borogoves: the first O is said like the O in worry. -
Nursery Rhymes and Fables
Kindergarten Core Knowledge Language Arts® • Listening & Learning™ Strand Nursery Rhymes and Fables and Rhymes Nursery Tell It Again!™ Read-Aloud Anthology Read-Aloud Again!™ It Tell Nursery Rhymes and Fables Tell It Again!™ Read-Aloud Anthology Listening & Learning™ Strand KiNdeRgaRteN Core Knowledge Language Arts® Creative Commons Licensing This work is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation made available through licensing under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial — You may not use this work for commercial purposes. Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page: http://creativecommons.org/licenses/by-nc-sa/3.0/ Copyright © 2013 Core Knowledge Foundation www.coreknowledge.org All Rights Reserved. Core Knowledge Language Arts, Listening & Learning, and Tell It Again! are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. -
John I. Baker III Big Dog Publishing
John I. Baker III Adapted from the novels Alice’s Adventures in Wonderland and Through the Looking-Glass by Lewis Carroll Illustrations by John Tenniel Big Dog Publishing Alice in Wonderland 2 Copyright © 2018, John I. Baker III ALL RIGHTS RESERVED Alice in Wonderland is fully protected under the copyright laws of the United States of America, and all of the countries covered by the Universal Copyright Convention and countries with which the United States has bilateral copyright relations including Canada, Mexico, Australia, and all nations of the United Kingdom. Copying or reproducing all or any part of this book in any manner is strictly forbidden by law. No part of this book may be stored in a retrieval system or transmitted in any form by any means including mechanical, electronic, photocopying, recording, or videotaping without written permission from the publisher. A royalty is due for every performance of this play whether admission is charged or not. A “performance” is any presentation in which an audience of any size is admitted. The name of the author must appear on all programs, printing, and advertising for the play and must also contain the following notice: “Produced by special arrangement with Big Dog/Norman Maine Publishing LLC, Rapid City, SD.” All rights including professional, amateur, radio broadcasting, television, motion picture, recitation, lecturing, public reading, and the rights of translation into foreign languages are strictly reserved by Big Dog/Norman Maine Publishing LLC, www.BigDogPlays.com, to whom all inquiries should be addressed. Big Dog Publishing P.O. Box 1401 Rapid City, SD 57709 Alice in Wonderland 3 To my parents, John and Esther, who encourage creativity, a love of theatre and many trips with Alice to Wonderland. -
Ambivalent Texts, the Borderline, and the Sense of Nonsense in Lewis Carroll’S “Jabberwocky”
International Journal of IJES English Studies UNIVERSITY OF MURCIA http://revistas.um.es/ijes Ambivalent texts, the borderline, and the sense of nonsense in Lewis Carroll’s “Jabberwocky” MICHAEL TEMPLETON Princess Nourah bint Abdulrahman University (Saudi Arabia) Received: 13/11/2017. Accepted: 18/08/2018. ABSTRACT Taking Carroll‘s ―Jabberwocky‖ as emblematic of a text historically enjoyed by both children and adults, this article seeks to place the text in what Kristeva defines as the borderline between language and subjectivity to theorize a realm in which ambivalent texts emerge as such. The fact that children‘s literature remains largely trapped in the literary–didactic split in which these texts are understood as either learning materials and primers for literacy, or as examples of poetic or historical modernist discourse. This article situates Carroll‘s text in the theories of language, subjectivity, and clinical discourse toward a more complex reading of a children‘s poem, one that finds a point of intersection between the adult and the child reader. KEYWORDS: Ambivalent text, The borderline, Children‘s literature, Nonsense poems. 1. INTRODUCTION Maria Nikolajeka demonstrates that children‘s literature occupies a middle place in the world of literary studies. Children‘s literature is either studied exclusively as a didactic tool—a literary form that exists entirely to provide stepping stones toward literacy for young readers—or else children‘s literature is understood as a projection of the author‘s imagination, a nostalgic portrait of some feature of the author‘s own youth. This is commonly referred to as the ―literary–didactic split‖ (Nikolajeka, 2005: xi).