The Farthest Shore
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ursula Le Guin to Give First Robert C. Elliott Memorial Lecture
Ursula Le Guin to give first Robert C. Elliott Memorial Lecture April 7, 1982 Ursula Le Guin, author of the award-winning novels "The Left Hand of Darkness" and "The Dispossessed," is scheduled to give the first Robert C. Elliott Memorial Lecture Wednesday, April 21, at the University of California, San Diego. The lecture, which is free and open to the public, is titled "A Non-Euclidean View of California as a Cold Place to Be." It will begin at 8 p.m. in room 107 of the Third College Lecture Hall. Le Guin will also hold an informal question and answer session covering her work at 3 p.m. Thursday, April 22, in room 111A of the Administrative Complex at UC San Diego. The Robert C. Elliott Memorial Lecture has been made possible by gifts from colleagues and friends of Elliott, a professor of English literature who died a year ago while hiking in the Anza-Borrego Desert. Elliott, one of the founders of the UC San Diego Department of Literature, joined the university faculty in 1964 and served as chairman of the literature department from 1968 through 1971. Le Guin has written 15 novels as well as a book for children, two collections of short stories and two books of poetry. Born in Berkeley, she received a B.A. degree from Radcliffe College in 1951 and an M.A. degree in French and Italian Renaissance literature from Columbia University in 1952. She received a Fulbright fellowship in 1953 and has received honorary degrees from Bucknell University and Lawrence University and an award for distinguished service from the University of Oregon. -
Shelf Order for Holdings Code UHS Library Short Story (UHSSC)
Shelf Order for Holdings Code UHS Library Short Story (UHSSC) Call Call Call Call Sorted Author Title Number Number Number Number Call Type Prefix Class Cutter Number X SC Abs SC Abs Absolute magnitude X SC Ada SC Ada Adams, Alice The stories of Alice Adams. X SC Afr SC Afr Larson, Charles R. African short stories; a collection of contemporary African writing, X SC Aft SC Aft Greenberg, Martin After the king : stories in honor of J.R.R. Tolkien Harry X SC Aft SC Aft After X SC Aik SC Aik Aiken, Joan, The far forests : tales of romance, fantasy, and suspense 1924-2004 X SC Alc SC Alc Alcott, Louisa May, Glimpses of Louisa; a centennial sampling of the best short stories. 1832-1888 X SC Ale SC Ale Alexie, Sherman, The Lone Ranger and Tonto fistfight in heaven 1966- X SC Ale SC Ale Alexie, Sherman, Ten little Indians : stories 1966- X SC Alf SC Alf Hitchcock, Alfred, Alfred Hitchcock presents: stories to be read with the lights on. 1899- X SC Alf SC Alf Hitchcock, Alfred, Alfred Hitchcock presents stories to be read with the door locked. 1899-1980 X SC Alp SC Alp Silverberg, Robert Alpha three X SC Ame SC Ame Clarke, John Henrik, American Negro short stories. 1915-1998 X SC Ame SC Ame Greene, Hugh, Sir. The American rivals of Sherlock Holmes X SC Ame SC Ame Skaggs, Calvin The American short story X SC Ame SC Ame America street : a multicultural anthology of stories X SC Ame SC Ame American dragons : twenty-five Asian American voices X SC Ame SC Ame American eyes : new Asian-American short stories for young adults X SC Ame SC Ame American gothic tales X SC Ame SC Ame American voices : best short fiction by contemporary authors : with comments by the authors X SC Ame SC Ame American West : twenty new stories from the Western Writers of America X SC AmI SC AmI Am I blue? : coming out from the silence X SC Ana SC Ana Analog. -
From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu
From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu Len Hatfield Children's Literature, Volume 21, 1993 , pp. 43-65 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/chl.0.0516 For additional information about this article http://muse.jhu.edu/journals/chl/summary/v021/21.hatfield.html Access provided by Virginia Polytechnic Inst. __ACCESS_STATEMENT__ St.University __ACCESS_STATEMENT__ (Viva) (7 Feb 2014 09:28 GMT) From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu Len Hatfield In literature as in "real life," women, children, and animals are the obscure matter upon which Civilization erects itself, phallologically. That they are Other is (vide Lacan et al.) the foundation of language, the Father Tongue. By climbing up into his head and shutting out every voice but his own, "Civilized Man" has gone deaf. He can't hear the wolf calling him brother—not Master, but brother. He can't hear the earth calling him child—not Father, but son. He hears only his own words making up the world. He can't hear the animals, they have nothing to say. Children babble, and have to be taught how to climb up into their heads and shut the doors of perception. No use teaching woman at all, they talk all the time, of course, but never say anything. This is the myth of Civilization, embodied in monotheisms which assign soul to Man alone. [Le Guin, Buffalo Gab 9-10] In recent years Ursula K. -
On Space, Gender and Class in Ursula K. Le Guin's The
Refectories and Dining Rooms as “Social Structural Joints”: On Space, Gender and Class in Ursula K. Le Guin’s The Dispossessed Joana Caetano, Mariana Oliveira & Miguel Ramalhete Gomes Introduction In “Restaurants, fields, markets, and feasts: Food and culture in semi-public spaces” (2016), Clare A. Sammells and Edmund Searles state that: “One can eat alone, but one can never truly eat in a way or in a place that is devoid of public meanings. It has long been clear that what, how, and with whom one eats indicates social status and economic class” (129). As members and collaborators of ALIMENTOPIA / Utopian Foodways Project, we have explored the social, political and economic implications that foodways have in shaping societies. It is therefore in the framework of this project that we, as researchers of different fields of Literature and Architecture, have come together and will jointly discuss primarily gender but also class dynamics, by projecting and analysing specific food-related spaces in Ursula K. Le Guin’s The Dispossessed. From a multidisciplinary perspective, this chapter proposes a reading of particular spaces where meals take place in Ursula K. Le Guin’s text. This analysis will make use of two specific lenses, gender and class, to argue that these spaces can be perceived as “social structural joints”, in the sense that an “architectural structural joint”, as architect Petra Čeferin proposes, is a junction where building elements meet. Using a three-dimensional view (space, gender and class), we will analyse how food spaces can be platforms for social aggregation or segregation and reveal gender and class dynamics. -
Full Screen View
THE QUEST FOR SELFHOOD IN URSULA LE GUIN'S WIZARD OF EARTHSEA AND THE FARTHEST SHORE by Jerry K. Durbeej A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements of the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida December 2000 THE QUEST FOR SELFHOOD IN URSULA LE GUIN'S THE WIZARD OF EARTHSEA AND THE FARTHEST SHORE By Jerry K. Durbeej This thesis was prepared under the direction of the candidate's thesis advisor, Dr. Robert Collins, Department ofEnglish. It was submitted to the faculty of The Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree ofMaster of Arts. SUPERVISORY COMMJTTEE: ~£i c.r02~ Chairman, Thesis Advisor /ff/IUZ~ Chairperson, Department ofEnglish Vice Provost Date ii ABSTRACT Author: Jerry K. Durbeej Title: The Quest for Selfhood in Ursula Le Guin's The Wizard ofEarthsea and The Farthest Shore Institution: Florida Atlantic University Thesis Advisor: Dr. Robert Collins Degree: Master of Arts Year: 2000 In A Wizard ofEarthsea and The Farthest Shore, Ursula K. Le Guin presents the theme of selfhood, of maturity, and of identity through the character heroes of Ged and Arren. Ofthese two, Ged experiences the quest for selfhood on two levels: first, from boy to manhood, and then from manhood to the awareness of death. Both novels deal with the struggle to create, which is primarily a struggle with self, with one's own powers, and with the need to control these powers and their consequences. -
The Search for Self in Ursula K. Le Guin's Wizard of Earthsea
===================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 19:5 May 2019 India’s Higher Education Authority UGC Approved List of Journals Serial Number 49042 ==================================================================== The Search for Self in Ursula K. Le Guin's Wizard of Earthsea P. Rini Melina Dr. C. Shanmugasundaram Ph. D Research Scholar Research supervisor Department of English Assistant Professor Annamalai University Department of English Annamalai Nagar 608 002 Annamalai University [email protected] Annamalai Nagar 608 002 [email protected] Abstract Ursula K. Le Guin was an American author. she was best known for her works of speculative fiction, including the science fiction works sets in the Hainish Universe and the fantasy series of Earth Sea. She began writing full time in the 1950s and achieved major critical and commercial success with A Wizard of Earth Sea (1968). For the latter volume Le Guin won both the Hugo and Nebula awards for best novel, becoming the first woman to do so. This research paper deals with the self-identity in the maturation of fantasy super-hero Ged, or sparrow hawk, the title character. Over the course of the novel, he learns the true meaning of Wizardry its limits as well as its capabilities. One of the main attractions of the novel, in addition to Ged himself, the fantasy and the adventure, is Le Guin’s skill at showing the friendships that make Ged’s success and mistakes seem so important. Keywords: Ursula K. Le Guin, Wizard of Earthsea, Self-Identity, Imaginative, Trickster, Wizard, Magic, Witch In the Wizard of Earthsea, Ged's voyage to selfhood is chiefly a battle to find and name the strange shade which persistently pursues him. -
Science Fiction Book Club Interview with Author Julie Phillips February
Science Fiction Book Club Interview with author Julie Phillips February 2018 Julie Phillips is an American biographer and book critic living in Amsterdam. She is currently working on a book on writing and mothering, “The Baby on the Fire Escape”, as welI as a biography of Ursula K. Le Guin. She is the author of “James Tiptree, Jr.: The Double Life of Alice B. Sheldon,” which received several honors including the National Book Critics Circle Award, the Hugo and Locus Awards, and the Washington State Book Award. Le Guin Questions Javier Ojst: Much respect for Le Guin but I would like to ask why did she seem to not want to be considered a SF writer? A writer that got most of her fame writing in this wonderful genre. "Le Guin won all the major honors of the science-fiction field — including Hugos, Nebulas and Locus awards. But she bristled a bit at being pigeonholed. “I know that I am always called ‘the sci-fi writer.’ Everybody wants to stick me into that one box, while i really live in several boxes,” she said in a widely quoted 2000 interview. -geekwiredotcom...thanks! Actually Le Guin was very loyal to SF and fantasy. When she accepted the medal from the National Book Foundation, she used her speech to criticize publishers for ignoring genre writers. When Margaret Atwood said she wrote “speculative fiction” rather than SF, Le Guin accused her of turning her back on genre. (See https://www.theguardian.com/books/2009/aug/29/margaret-atwood-year-of-flood) Le Guin didn’t want to abandon the “genre ghetto” for respectability; she insisted on recognition for SF as a whole. -
The Underground and the Labyrinth in Ursula K. Le Guin's
L L L Page 1 of 8 Original Research LLL i t e r a t o r Womanspace: The underground and the labyrinth in Ursula K. Le Guin’s Earthsea narratives Authors: Ursula K. Le Guin’s renowned Earthsea cycle, spanning 20 years and five texts, is often 1 Lynette Douglas acknowledged to be a textual space for the creative exploration and interrogation of gender. Deirdre Byrne1 The two spaces in the title – ‘earth’ and ‘sea’ – are held in equilibrium, both by the author’s Affiliations: craft and by magic. Unfortunately, though, few critics have explored how these spaces 1Department of English function in the narrative. In this article, we explore the representation of underground Studies, University of South spaces and labyrinths as meaningful landscapes in the Earthsea cycle. These spaces are found Africa, South Africa throughout Le Guin’s Earthsea fiction, but are foregrounded in four narratives: ‘The finder’ Correspondence to: and ‘The bones of the earth’ (Tales from Earthsea), The tombs of Atuan and The other wind. Le Lynette Douglas Guin’s writing consistently identifies the earth as feminine, in keeping with the archetype of ‘Mother Earth’, and we find that subterranean spaces and labyrinths are depicted as sites Email: [email protected] of power and empowerment for women. Nevertheless, we argue that Le Guin’s affinity for gender equity and balance prevents these tropes from becoming another tired revisioning of Postal address: an easy equation of earthy forces and ‘the feminine’. Rather, for Le Guin, the underground PO Box 392, Tshwane 0003, and the labyrinth are sites of union between masculine and feminine elements and characters, South Africa through the empowerment of the feminine. -
Powers of Horror; an Essay on Abjection
POWERS OF HORROR An Essay on Abjection EUROPEAN PERSPECTIVES: A Series of the Columbia University Press POWERS OF HORROR An Essay on Abjection JULIA KRISTEVA Translated by LEON S. ROUDIEZ COLUMBIA UNIVERSITY PRESS New York 1982 Library of Congress Cataloging in Publication Data Kristeva, Julia, 1941- Powers of horror. (European perspectives) Translation of: Pouvoirs de l'horreur. 1. Celine, Louis-Ferdinand, 1894-1961 — Criticism and interpretation. 2. Horror in literature. 3. Abjection in literature. I. Title. II. Series. PQ2607.E834Z73413 843'.912 82-4481 ISBN 0-231-05346-0 AACR2 Columbia University Press New York Guildford, Surrey Copyright © 1982 Columbia University Press Pouvoirs de l'horreur © 1980 Editions du Seuil AD rights reserved Printed in the United States of America Clothbound editions of Columbia University Press books are Smyth- sewn and printed on permanent and durable acid-free paper. Contents Translator's Note vii I. Approaching Abjection i 2. Something To Be Scared Of 32 3- From Filth to Defilement 56 4- Semiotics of Biblical Abomination 90 5- . Qui Tollis Peccata Mundi 113 6. Celine: Neither Actor nor Martyr • 133 7- Suffering and Horror 140 8. Those Females Who Can Wreck the Infinite 157 9- "Ours To Jew or Die" 174 12 In the Beginning and Without End . 188 11 Powers of Horror 207 Notes 211 Translator's Note When the original version of this book was published in France in 1980, critics sensed that it marked a turning point in Julia Kristeva's writing. Her concerns seemed less arcane, her presentation more appealingly worked out; as Guy Scarpetta put it in he Nouvel Observateur (May 19, 1980), she now intro- duced into "theoretical rigor an effective measure of seduction." Actually, no sudden change has taken place: the features that are noticeable in Powers of Horror were already in evidence in several earlier essays, some of which have been translated in Desire in Language (Columbia University Press, 1980). -
Ursula K. Le Guin the DISPOSSESSED an Ambiguous Utopia Document4 3/18/02 9:30 AM Page 2
Document4 3/18/02 9:30 AM Page 1 Ursula K. Le Guin THE DISPOSSESSED An Ambiguous Utopia Document4 3/18/02 9:30 AM Page 2 For the partner Document4 3/18/02 9:30 AM Page 2 Document4 3/18/02 9:30 AM Page 2 TOC 3/18/02 2:09 PM Page 1 CONTENTS MAPS OF ANARRES MAPS OF URRAS 1 THERE was a wall. it did not look impor- tant. It was built of uncut rocks 2 IN a square window in a white wall is the clear bare sky. 3 WHEN Shevek woke, having slept straight through his first morning on Urras 4 THE westering sun shining in on his face woke Shevek 5 SHEVEK ended his career as a tourist with relief. 6 WHEN Shevek was sent home after a decade in hospital TOC 4/8/02 5:13 PM Page 2 7 SHEVEK found a letter in a pocket of the new fleece-lined coat 8 THEY were out on the athletic fields of Abbenay s North Park 9 SHEVEK was awakened by the bells in the chapel tower pealing the Prime Harmony 10RAIL lines in Southwest ran for the most part on embankments 11 RODARRED, the old capital of Avan Province, was a pointed city 12 I want to introduce a project, said Bedap, from the Syndicate of Initiative 13 BEFORE they broke orbit, the view ports were filled with the cloudy turquoise A Study Guide to The Dispossessed by Paul Brians About the Author Other Books by Ursula K. Le Guin Credits About the Publisher Front Cover Image Copyright text 3/18/02 1:36 PM Page 1 THERE was a wall. -
Transcript of Remembering Ursula K. Le Guin
1 You’re listening to Imaginary Worlds, a show about how we create them and why we suspend our disbelief. I’m Eric Molinsky. I was halfway through my Doctor Who mini-series when something very significant happened in the world of science fiction. The great novelist Ursula K. Le Guin passed away. And I was contemplating how to address her legacy on my podcast when a listener told me about a documentary that being made called Worlds of Ursula K. Le Guin. The director Arwen Curry spent almost ten years with Le Guin, and now she’s in the final stage of putting the film together. Her production office is in Berkeley – and since I was in the Bay Area recently, I wanted to stop by and hear about the film. It’s funny interviewing someone who is so adapt at doing interviews. She was adjusting her own mic, and she even knew the question I was going to ask to get her sound levels – which the question every public radio reporter asks to get your levels: tell me what you had for breakfast. ARWEN: I was going to say Oatmeal. You know my question! ARWEN: I’ve done a little bit of radio. Arwen Curry was raised in Berkeley. She says her father was a big influence on her childhood imagination. Her was an early Dungeons & Dragons player, and he enlisted his kids on adventures that went way beyond the D&D manuals. And his bookshelves were filmed with fantasy novels – books like The Lathe of Heaven by Ursula K. -
Rilke and Le Guin
Volume 16 Number 2 Article 9 Winter 12-15-1989 Rilke and Le Guin Barbara J. Bucknall Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Bucknall, Barbara J. (1989) "Rilke and Le Guin," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 16 : No. 2 , Article 9. Available at: https://dc.swosu.edu/mythlore/vol16/iss2/9 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico • Postponed to: July 30 – August 2, 2021 Abstract Seeks similarities in Rilke and Le Guin, especially in the power of naming and the view of death as a necessary part of life. Notes in particular parallels between Rilke’s Duino Elegies and The Farthest Shore. Additional Keywords Le Guin, Ursula K. Earthsea books—Sources; Names in fantasy; Rilke, Rainer Maria—Influence on Ursula K. Le Guin; Rilke, Rainer Maria. Duino Elegies—Influence on The arF thest Shore This article is available in Mythlore: A Journal of J.R.R.