DOCSLIB.ORG

Colette's Kaleidoscope

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Colette's Kaleidoscope COLETTE‘S KALEIDOSCOPE: A STUDY OF COLORS, MIRRORS, AND CONTINUTIES IN CHERI AND GIGI By COURTNEY KEADY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2010 1 © 2010 Courtney Keady 2 ACKNOWLEDGMENTS I thank my committee chair, Dr. Carol Murphy, and my committee member, Dr. Brigitte Weltman-Aron. I thank also my first French teacher, Mrs. Magdalena Nica. 3 TABLE OF CONTENTS page ACKNOWLEDGMENTS………………………………………………………………………..3 ABSTRACT………………………………………………………………………………………5 CHAPTER 1 INTRODUCTION ……………………………………………………………………….7 2 COLORS……………………………………………………………………………….16 3 MIRRORS……………………………………………………………………………...25 4 CONTINUITIES.……………………………………………………………………….32 5 CONCLUSION………………………………………………………………………...60 WORKS CITED………………………………………………………………………………..62 BIOGRAPHICAL SKETCH …………………………………………………………………..63 4 Abstract of Thesis Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Arts COLETTE‘S KALEIDOSCOPE: A STUDY OF COLORS, MIRRORS, AND CONTINUTIES IN CHERI AND GIGI By Courtney Keady December 2010 Chair: Carol Murphy Major: French In reading Chéri and Gigi, by French novelist, Colette, one remarks the sensual, stylistic descriptions of characters, settings, and situations. Colette strategically employs color juxtapositions, mirrors, and character similarities, which create a kaleidoscopic world both within and between the two works. The two differing female protagonists and their love stories are thus linked by the way in which they are portrayed. Color combinations as character descriptors are significant due to their effects on surrounding characters and Colette‘s readers. They allow Colette to cleverly express a character‘s emotions without actually referring to them. These color pairings also serve as a link between characters, as such physical resemblances suggest that the two characters are also experiencing similar feelings. Mirrors, which appear in the opening and closing scenes of Chéri, function as framework to the story and give the reader insight into a character‘s actual physical appearance as well as into the character‘s opinion of this appearance. These opinions, whether distorted or truthful, provide explanations for many of the characters‘ actions and show the similarities between characters‘ thought processes. 5 Continuities are finally presented as shared character traits and situations. Characters from the same novel and from the two distinct novels share mannerisms, worldviews, and dialogues. Particular characters have comparable belief systems and fixations while others are merely placed in similar circumstances. Certain characters are further linked, as they are often portrayed using the same objects, sitting in the same way, and reacting with the same zeal. The result of these mutual traits is that, in reading the scene of one character or couple, the reader is reminded of another and forms an automatic link between the two. The purpose of my study is to explore and analyze the origin and the significance of Colette‘s use of these three narrative aids. The scenes created with combined colors, purposefully placed mirrors, and character similarities will be pointed out and studied in order to specify their effects on the reader and their importance as a part of Colette‘s kaleidoscopic literary world. 6 CHAPTER 1 INTRODUCTION A new dawn is always breaking inside a kaleidoscope. There are some who experience a sacred connection as they view the kaleidoscope through the inner mirror of their soul…Whether it is a few moments of clarity or a realization of oneness, they interpret the unfolding mandalas as messages of love and beauty; feeling, more than seeing, the radiance within… each kaleidoscope is a little world unto itself where one can: hear silent music, feel wondrous harmony … reflect on beauty repeating itself over and over again, know that for each ending there is a new beginning ( Baker 7). The American Heritage Dictionary of the English Language defines a kaleidoscope as ―a tube-shaped optical instrument that is rotated to produce a succession of symmetrical designs by means of mirrors reflecting the constantly changing patterns made by bits of colored glass at one end of the tube‖ (―kaleidoscope‖ 2010). While complicated in design, allowing the viewer to gaze at shifting designs and colors, this device is often used by children and sometimes even considered to be a toy. The ease with which one can rotate the tube to create an infinite number of color and shape combinations can overshadow the power and beauty of the symmetrical images as well as the innovation and creativity that go into its original design. The creation of the original image involves choice of color, mirror size, and type of rotation; ―first and foremost it takes the hands and heart of a dedicated artist. Indeed the artist is the very heart of the kaleidoscope‖ (Baker 15). Understanding the scientific and artistic construction of the kaleidoscope and its combinations heighten the senses and the emotions of the audience. In a similar fashion, one such artist, the French writer Sidonie-Gabrielle Colette (1873-1954), chose to use color, mirrors, and interactions of senses and of characters in order to create shifting yet unbroken patterns in her own, mesmerizing literary world. 7 Author of novels and short stories with female protagonists, Colette was often labeled as classically feminist. Only recently has Colette‘s body of work been recognized for its distinct, sensual descriptions. She has been the subject of several recent biographies and critical works that have produced new readings of her fiction. For Julia Kristeva, Colette ―found a language to express a strange osmosis between her sensations, her desires, her anxieties – those pleasures thoughtlessly called physical – and the infiniteness of the world, the blossoming of flowers, the rippling of beasts, sublime apparitions, contagious monsters‖ (1). In Colette, the third and final volume of Female Genius: Life, Madness, Words – Hannah Arendt, Melanie Klein, Colette. Kristeva explains Colette‘s talent with expressive language as a result of her ability to depict and invoke sensation in her novels and short stories. In my thesis, I argue that the elements of color and mirror-like reflections of characters in each other contribute to Colette‘s distinctive literary style. In her brief yet profound depictions of scenery and characters, Colette uses strategic color combinations and juxtapositions that elicit reactions from her reader. Colette creates a bond between the reader and the characters of her story in a fashion similar to the workings of a kaleidoscope. Like the shifting, yet symmetrical designs of a kaleidoscope, Colette‘s characters, their sensations, and the emotions conveyed to the reader are both delightful and emotionally provocative. The characters that appear in Colette‘s novels are connected to each other by their actions, reactions, and feelings. In addition, the scenes of interaction are linked through the sensual, selective choice of words with which they are described. Thus, the people and worlds present in Colette‘s works constantly invoke each other and amplify the reader‘s experience of each text. This invocation is a result of Colette‘s unique word 8 choices and her tendency to present characters that fit into certain categories, i.e. young, lively women, aging courtesans, weak males, etc. in the same way. In her feminist reading of Colette‘s life and works, Joan Stewart identifies the strong connection between Colette‘s characters as the result of both stylistic and gender- related factors. Stewart concludes that, Colette‘s uniqueness relates on the one hand to the break with traditional genres… on the other to her exploration of gender differences. In Colette‘s writing, ordinary feminine pursuits are beautiful and heroic as well as prosaic; men are sex objects; and maternal and passionate love, heterosexual and homosexual love, the pure and impure drift together (137). Kristeva also emphasizes this connectivity, noting that female characters (and male characters with feminine traits) are often linked to each other by societal codes – defined spheres of feminine domestic honor – and by the ambiguous loving relationships in which they find themselves involved (174). This interrelatedness of characters, settings, and scenes, can be described as kaleidoscopic. In his study of modern artistic vision and the importance of an active observer, Techniques of the Observer, Jonathan Crary highlights the exceptionality of the kaleidoscope. He notes that its ability to create visual multiplicity using new technology allows for greater perception and a new way of seeing. The fluidly changing patterns assure that ―There is never a pure access to a single object; vision is always multiple, adjacent to and overlapping with other objects, desires, and vectors … a world where everything is in circulation‖ (20). The kaleidoscope then functions as a metaphor for Colette‘s artistic vision and has consequences for the reader. Just as the viewer of a kaleidoscope unavoidably, concurrently witnesses several revolving colors, shapes, and 9 patterns through a single eyepiece, an informed Colette reader is faced with perceptions of several different characters, places, and stories while reading a single novel. Colette‘s individual scenes are linked by their characters, events, and the smells, sights,
Load more

Recommended publications
  • Full Circle Full Circle
    FULL CIRCLE FULL CIRCLE the aboriginal healing WAYNE foundation & the K SPEAR unfinished work of hope, healing & reconciliation AHF WAYNE K SPEAR i full circle FULL CIRCLE the aboriginal healing foundation & the unfinished work of hope, healing & reconciliation WAYNE K SPEAR AHF 2014 © 2014 Aboriginal Healing Foundation Published by Aboriginal Healing Foundation Aboriginal Healing Foundation 275 Slater Street, Suite 900, Ottawa, ON, K1P 5H9 Phone: (613) 237-4441 / Fax: (613) 237-4442 Website: www.ahf.ca Art Direction and Design Alex Hass & Glen Lowry Design & Production Glen Lowry for the Aboriginal Healing Foundation Printed by Metropolitan Printing, Vancouver BC ISBN 978-1-77215-003-2 English book ISBN 978-1-77215-004-9 Electronic book Unauthorized use of the name “Aboriginal Healing Foundation” and of the Foundation’s logo is prohibited. Non-commercial reproduction of this docu- ment is, however, encouraged. This project was funded by the Aboriginal Healing Foundation but the views expressed in this report are the personal views of the author(s). contents vi acknowledgments xi a preface by Phil Fontaine 1 introduction 7 chapter one the creation of the aboriginal healing foundation 69 chapter two the healing begins 123 chapter three long-term visions & short-term politics 173 chapter four Canada closes the chapter 239 chapter five an approaching storm by Kateri Akiwenzie-Damm 281 chapter six coming full circle 287 notes 303 appendices 319 index acknowledgments “Writing a book,” said George Orwell, “is a horrible, exhausting struggle, like a long bout with some painful illness.” In the writing of this book, the usual drudgery was offset by the pleasure of interviewing a good many interesting, thoughtful and extraordinary people.
    [Show full text]
  • Kaleidoscope One
    KALEIDOSCOPE ONE STEFAN ZWEIG Translated by Eden and Cedar Paul 1 CONTENTS AMOK - 3 THE BURNING SECRET - 36 MOONBEAM ALLEY - 74 TRANSFIGURATION - 84 FEAR - 112 THE FOWLER SNARED - 137 THE GOVERNESS - 143 2 AMOK IN March, 1912, when a big mail-boat was unloading at Naples, there was an accident about which extremely inaccurate reports appeared in the newspapers. I myself saw nothing of the affair, for (in common with many of the passengers), wishing to escape the noise and discomfort of coaling, I had gone to spend the evening ashore. As it happens, however, I am in a position to know what really occurred, and to explain the cause. So many years have now elapsed since the incidents about to be related, that there is no reason why I should not break the silence I have hitherto maintained. I had been traveling in the Federated Malay States. Recalled home by cable on urgent private affairs, I joined the Wotan at Singapore, and had to put up with very poor accommodation. My cabin was a hold of a place squeezed into a corner close to the engine-room, small, hot, and dark. The fusty, stagnant air reeked of oil. I had to keep the electric fan running, with the result that a fetid draught crawled over my face reminding me of the fluttering of a crazy bat. From beneath came the persistent rattle and groans of the engines, which sounded like a coal-porter tramping and wheezing as he climbed an unending flight of iron stairs; from above came the no less persistent tread of feet upon the promenade deck.
    [Show full text]
  • L'enfant Et Les Sortilèges
    RAVEL L’Enfant et les sortilèges Ma Mère l’Oye – Complete ballet Soloists • Choirs Orchestre National de Lyon Leonard Slatkin Maurice L’Enfant et les sortilèges 44:41 ) Danse des Rainettes (Dance of the Frogs) 2:11 ¡ Sauve-toi, sotte! Et la cage? La cage? RAVEL 1 J’ai pas envie de faire ma page (Keep away, fool! And the cage? The cage?) (1875-1937) (I don’t want to do my schoolwork) (L’Enfant) 2:20 (L’Ecureuil, la Rainette) 0:49 2 Bébé a été sage? Il a fini sa page? ™ La cage, c’était pour mieux voir ta prestesse L’Enfant et les sortilèges (1925) (Has Baby been good? Has he finished his work?) (The cage was to see your quickness better) (Maman) 1:13 (L’Enfant, l’Ecureuil) 1:54 (The Child and the Spells) 3 Ça m’est égal! Ça m’est égal! £ Ah! c’est l’Enfant au couteau! (I don’t care! I don’t care!) (L’Enfant) 1:11 (Ah! It’s the Child with the knife!) Fantaisie lyrique 4 Votre serviteur humble, Bergère (Les Bêtes et les Arbres) 0:39 Libretto by Colette (1873-1954) (Your humble servant, Chair) ¢ Il a pansé la plaie (Le Fauteuil, la Bergère) 1:47 (He has bandaged the wound) L’Enfant (The Child) . Hélène Hébrard, Soprano 5 Ding, ding, ding, ding (Les Bêtes et les Arbres, l’Ecureuil) 2:25 (L’Horloge comtoise, l’Enfant) 1:32 ∞ Il est bon, l’Enfant, il est sage Maman, la Libellule, la Tasse chinoise 6 How’s your mug? (La Théière) 0:51 (He’s good, the Child is good) (Mother, The Dragonfly, The Chinese Cup) .
    [Show full text]
  • Courtney Sullivan. the Evolution of the French Courtesan Novel: from Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016
    Studies in 20th & 21st Century Literature Volume 42 Issue 2 Article 18 March 2018 Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. Zoe Petropoulou St. John's University, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Petropoulou, Zoe (2018) "Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016.," Studies in 20th & 21st Century Literature: Vol. 42: Iss. 2, Article 18. https://doi.org/10.4148/2334-4415.2014 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 & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. Abstract Review of Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. ix +127pp. Keywords courtesans, French literature This book review is available in Studies in 20th & 21st Century Literature: https://newprairiepress.org/sttcl/vol42/ iss2/18 Petropoulou: Review of The Evolution of the French Courtesan Novel Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. ix +127pp. Sullivan’s first monograph focuses on the courtesan novels of Celeste de Chabrillan, Valtesse de la Bigne, Liane de Pougy, and Colette, who wrote during the mid-nineteenth century into the beginning of the twentieth.
    [Show full text]
  • Crime Story Collection
    Crime Story Collection Level 4 Retold by John and Celia Turvey Series Editors: Andy Hopkins and Jocelyn Potter Pearson Education limited Edinburgh Gate, Harlow, Essex CM20 2JE, England and Associated Companies throughout the world. ISBN 0 582 419190 This compilation first published in Longman Fiction 1998 This edition first published 1999 NEW EDITION 5 7 9 10 8 6 The story “Three is a Lucky Number” © Margery Allingham is reproduced by permission of Curtis Brown, London on behalf of P. & M.Youngman Carter Ltd. The story “Full Circle” by Sue Grafton is reprinted with the permission of Abner Stein, London. The story “How’s Your Mother?” © Simon Brett 1980 is from A Box of Tricks, published by Victor Gollancz Ltd. The story “At the Old Swimming Hole” © 1986 Sara Paretsky was first published in Mean Streets: The Second Private Eye Writers of America Anthology, edited by Robert J. Randisi, published by Mysterious Press. All rights reserved. First published in the UK by Hamish Hamilton Limited. The Patricia Highsmith story “Slowly, Slowly in the Wind” was first published in Ellery Queens Mystery Magazine 1976. Copyright © 1993 Diogenes Verlag AG, Zurich. The Patricia Highsmith story “Woodrow Wilsons Neck Tie” was first published in Ellery Queen’s Mystery Magazine 1972. Copyright © 1993 Diogenes Verlag AG, Zurich. The story “The Absence of Emily” by Jack Ritchie is reprinted with kind permission of the Larry Sterring & Jack Byrne Literary Agency, Milwaukee, United States of America. The story “The Inside Story” © 1993 Colin Dexter. This abridgement and simplification © Addison Wesley Longman Limited 1997. This edition copyright © Penguin Books Ltd 1999 Illustrations by Les Edwards Cover design by Bender Richardson White Set in 11/14pt Bembo Printed in China SWTC/05 All rights reserved; 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 written permission of the Publishers.
    [Show full text]
  • The Truth About Bad Attitudes
    12 STAFF MORALE EXCHANGE MARCH/APRIL 2011 Reprinted with permission from Exchange magazine. Visit us at www.ChildCareExchange.com or call (800) 221-2864. Multiple use copy agreement available for educators by request. The truth about bad attitudes by Gigi Schweikert The real deal Do you have a good attitude at itive attitudes fix things without the work? need to even draw attention to the issue Many people enter the early childhood or take credit. A person with a good atti- field because they enjoy working with Do you have a good attitude at work or tude saves the comments. Sure, they feel children. We’ll all agree that we love do you tend to grumble, complain, and frustrated, angry, and unappreciated at the children, and that may be where make unfavorable comments? A person times, but a person with a good attitude our complete agreement ends. Until we with a good attitude: moves past those feelings and keeps the spend time in the classroom, many of goal of caring for and educating young us don’t realize that the picture we n knows and expects that things won’t children in mind. Do you really have a painted in our heads of us working always go as planned. good attitude? independently with a group of cute, n accepts the situation as it is, but well-behaved kids isn’t the real works to improve it. Bad attitude don’ts scenario. Yes, the kids are cute! But n is generally happy, despite the unlike an elementary school teacher circumstances. We’ve talked about the traits of some- who usually teaches by herself in a self- n helps without being asked.
    [Show full text]
  • 2013Winter.Pdf
    Slippery Rock University Magazine TheROCK WINTER 2013 Color My World Kaleidoscope Arts Festival April 16-28 VIEW from the ROCK TheROCK Volume 15, Number 1 Council of Trustees: Eric L. Holmes, Chairperson John A. Hicks, Vice-Chairperson Robert Marcus, Secretary Courtney Baker-Schroat Thomas Breth Grace O. Hawkins Dennis E. Murray Robert S. Taylor Suzanne A. Vessella Joshua B. Young President Cheryl Norton Cabinet • Philip Way Dear Friends, Provost and Vice President for Academic Affairs • Charles Curry February may be the shortest month of the year, but it certainly was a great month for Vice President for Finance and Administrative Affairs ‘gifts’ to the University. • Barbara Ender In early February, after nearly two years of negotiations, the Pennsylvania State Vice President for University Advancement System of Higher Education and APSCUF, the union representing the faculty system- • Constance Foley Vice President for Student Affairs wide reached a tentative agreement that averted a potential job action. As I write this, • Rita Abent the contract must still be ratified by the Board of Governors, but I am encouraged a Executive Director for University Public Relations settlement is within reach and there should be no interruption in classes. • Tina Moser A major contributor to the negotiation process was our own William Williams. Bill Assistant to the President retired in February as provost and vice president for academic affairs but not before Academic Leadership helping to bring home a contract as a member of the bargaining team. One might say • Kurt Schimmel Dean, College of Business, Information and Social Sciences it was his parting gift to PASSHE, APSCUF and SRU.
    [Show full text]
  • Kaleidoscope Eyes by Jen Bryant, Alfred A
    Teacher’s Guide Kaleidoscope Eyes by Jen Bryant, Alfred A. Knopf Books for Young Readers, May 2009 Juvenile Fiction - Hardcover – Ages 9-13- $15.99 , 978-0-375-84048-7 Themes: Family Relationships Friendship Making Decisions / Ethics Trust Second Chances Connecting to the Curriculum: History Vietnam War Pirates and Captain Kidd Social Studies Challenging Stereotypes Science Reading Maps Archeology Rivers Over Time Language Arts Poetry Word Pictures Describing Characters Symbolism The Kaleidoscope About the Book When do you know it is okay to trust someone? Why do people you care about have to leave? When are things not what they seem? Buried treasure, the Vietnam War, friendship, and discrimination are just some of the interwoven themes in this remarkable novel by poet Jen Bryant. Teaching Guide for Kaleidoscope Eyes Written by Jen Bryant, published by Alfred A. Knopf Books for Young Readers, May 2009, Teaching Guide copyright © 2009, Winding Oak. This teaching guide was prepared by Heidi Grosch. www.windingoak.com. It may be copied for classroom or library use but may not be reprinted or resold for commercial purposes. It’s 1968 and Lyza discovers her grandfather has left her a mystery to solve. She soon discovers, with the help of her two best friends Malcolm and Carolann, that the maps are clues to pirate Captain Kidd’s treasure in the middle of town. Now it’s up to three kids to find it, and along the way they discover more than just a buried trunk. Kaleidoscope Eyes follows their secret search and the unexpected outcomes its discovery brings.
    [Show full text]
  • Amazing Grace: the Near-Death Experience As a Compensatory Gift
    Amazing Grace: The Near-Death Experience as a Compensatory Gift Kenneth Ring, Ph.D. University of Connecticut ABSTRACT: This paper illustrates the apparently providential timing and the healing character of near-death experiences (NDEs) and NDE-like epi sodes, through four case histories of persons whose lives, prior to their experi ences, were marked by deep anguish and a sense of hopelessness. Spiritually, such case histories suggest the intervention of a guiding intelligence that confers a form of "amazing grace" on the recipient. Methodologically, these reports point to the importance of taking into account the person's life history as a context for understanding the full significance of NDEs and similar awakening experiences. The article ends with a retrospective account of a childhood NDE in which "the big secret" of these experiences is disclosed. "We who are about to die demand a miracle." W. H. Auden (cited in Grosso, 1985) During the past fourteen years of my research on near-death experi ences (NDEs), I have often been struck by the seemingly providential character and timing of these experiences. An individual whose life is spinning out of control and heading on a clearly self-destructive course has an accident and experiences the healing balm of absolute love and unconditional acceptance in the light, and returns to life knowing he has been set right again. A man, after several previous suicidal ges tures, takes a massive overdose of barbiturates that would ordinarily guarantee his demise, but for some unknown reason an NDE super Kenneth Ring, Ph.D., is Professor of Psychology at the University of Connecticut.
    [Show full text]
  • Writing and Modernity: Colette's Feminist Fiction. Lezlie Hart Stivale Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1991 Writing and Modernity: Colette's Feminist Fiction. Lezlie Hart Stivale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Stivale, Lezlie Hart, "Writing and Modernity: Colette's Feminist Fiction." (1991). LSU Historical Dissertations and Theses. 5211. https://digitalcommons.lsu.edu/gradschool_disstheses/5211 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Kaleidoscope Lifelong Learning at ROLAND PARK COUNTRY SCHOOL
    SPRING 2017 Kaleidoscope Lifelong Learning at ROLAND PARK COUNTRY SCHOOL 5204 Roland Avenue• Baltimore, Maryland 21210• 410.323.5500• www.rpcs.org Welcome to Kaleidoscope Spring 2017! Dear Friends of Kaleidoscope, Quin and I welcome you to learn something new with us this spring! This season’s catalog is full of a wide variety of programs including new classes and trips, as well as returning favorites. Highlights include: Judy Pittenger’s Great Books Series on The Bronte Sisters and Charles Dickens, John Butler’s Eye On Hong Kong and Greece lectures, day trips to the Philadelphia Flower Show, National Cathedral, and Brandywine museum, as well as much more! Whether you’ve been a friend of ours for years or this is the first time you’ve discovered our offerings, Kaleidoscope is open to everyone! We hope you will explore the catalog to find programs that speak to your interests, and share your experiences with family and friends. Remember to register early so that you do not miss our most popular offerings. Please look to the Community tab at www.rpcs.org to find our new online registration system for all Kaleidoscope offerings. Please contact our office at 410-323-5500 x3045 with any questions or assistance during the registration process. We look forward to welcoming you to campus this spring! Kindest Regards, Kristin Jarrell Director of External Programs [email protected] Head of School: Caroline Blatti Director of External Programs: Kristin Jarrell External Programs & Communications Associate: Quinlin Porter Kaleidoscope Advisory Board:
    [Show full text]
  • Ancient Narrative Volume 1
    Religious Narratives and Religious Themes in the Novels of Achilles Tatius and Heliodorus MARGARET EDSALL New York 1. Introduction The prominence of religious themes in the Greek novels has elicited a vari- ety of views about the relationship between the novel and religion:1 1) the novels are cult texts of mystery religions;2 2) particular cults indirectly influ- ence the novels;3 3) the novels are religious in a more general sense;4 4) reli- gious themes are a resource for narrative technique with no reference beyond the boundaries of fiction.5 Recently, Merkelbach and Bowersock have pro- posed that religious themes reflect the novel’s origin in religious narratives.6 Merkelbach concludes that religious themes reflect not only the novel’s symbolic meaning but also its origin in pagan aretalogies.7 Bowersock sug- gests that religious themes are inspired by Christian miracle narratives but the novel remains a “secular scripture.”8 Interestingly, each critic isolates a different type of religious narrative as the source of the novel’s origin but admits that other genres are at play. According to Fusillo, multiple hypothe- ses concerning literary influences may be plausibly advanced, since the novel seems to derive from the disintegration of previous literary forms.9 Thus, these conclusions raise a far different issue than they in fact address: ————— 1 Morgan 1996. 2 Kerenyi 1927; Merkelbach 1962. 3 Altheim 1948; Weinreich 1962; Griffiths 1978; Edwards 1985. 4 Beck 1996; Reardon 1969; Heiserman 1977; Hägg 1983. 5 Winkler 1980; 1982; Morgan 1978; 1996. 6 Merkelbach 1994; Bowersock 1994a. 7 Symbolic meaning: Merkelbach 1962; Origin in pagan aretalogy: Merkelbach 1994, 290.
    [Show full text]