Showing papers on "Theme (narrative) published in 1968"

The Emulation of Heroes

Abstract: Mao's cultural revolution is perhaps the most extensive effort in history to transform a nation by changing the character of its people. It is a moralistic and inner- as well as outer-directed revolution. In the simplest ideological terms, “good men and good deeds” is a central theme, and “selfishness” is the principal enemy. To personify these ideals and to illustrate the method of attaining them, a succession of heroes have been put forward for nation-wide emulation.

Henry James: the critical heritage

Abstract: This set comprises 40 volumes covering 19th and 20th century European and American authors. These volumes will be available as a complete set, mini boxed sets (by theme) or as individual volumes. This second set complements the first 68 volume set of Critical Heritage published by Routledge in October 1995.

Allusions in Ulysses: An Annotated List

Abstract: This comprehensive list of allusions found in James Joyce's modern classic, "Ulysses", is in itself a classic and is a feat of literary scholarship of unprecedented magnitude. In brief, this book is a copiously annotated list of Joyce's allusions in such areas as literature, philosophy, theology, history, and the fine arts. So awesome an undertaking would not have been possible without the prior work of such persons as Stuart Gilbert, Joseph Prescott, William York Tindall, M. J. C. Hodgart, Mabel Worthington, and many others. But the present list is more than a compilation of previously discovered allusions, for it contains many allusions that have never been suggested before, as well as some that have only been partially or mistakenly identified in earlier publications.In preparing this work, the author has kept its usefulness to the reader foremost in mind. He often refreshed the reader's memory in concerning the context of an allusion, since its context, in one sense or another, is always the guide to its function in the novel. The entire list is fully cross-referenced and keyed by page and line to both the old and new Modern Library editions of "Ulysses". In addition, the index is prepared in such a way that it indexes not only the List but also the novel itself.The purpose of allusion in a literary work is essentially the same as that of all other types of metaphor - the development and revelation of character, structure, and theme - and, when skillfully used, it does all of these simultaneously. Joyce's use of allusion is distinguished from that of other authors not by its purposes, but by its extent and thoroughness. "Ulysses" involves dozens of allusive contexts, all continually intersecting, modifying, and qualifying one another. Here again Joyce's uniqueness and complexity lie not in his themes or characters, nor in his basic methods of developing them, but in his accepting the challenge of an Olympian use of his chosen methods. The value of this volume to Joyce scholars and students is obvious; however, its usefulness to anyone who reads "Ulysses" is as great, if not greater. It can truly be the key to this difficult but rewarding novel.

The Theme of Jewish Persecution of Christians in the Gospel According to St Matthew

Abstract: Preface List of abbreviations 1. General remarks on the nature of the conflict between Jews and Christians 2. Survey of the data of Jewish persecution of Christians in sources other than Matthew 3. References to Jewish persectuion of Christians in the Gospel according to St Matthew 4. Matthew's understanding of the causes of persecution 5. The Christian response to persecution by the Jews as evidenced by Matthew 6. Summary and conclusions Appendices Bibliography Indices.

2001: a space odyssey: A novel,

Abstract: 2001: A SPACE ODYSSEY tackles the enduring theme of man's place in the universe. On the moon an enigma is uncovered. So great are the implications that, for the first time, men are sent out deep into the solar system. But, before they can reach their destination, things begin to go wrong, horribly wrong.

Aspects of Nyoro Symbolism

Abstract: Like other African peoples, Banyoro have a rich and complex symbolism, and there are numerous references to aspects of this in both older and more recent writings about Nyoro traditional culture. But until the publication in a recent issue of this journal of a paper on the significance of right and left in Nyoro symbolic classification by my colleague Dr. Rodney Needham (Needham, 1967), no systematic analysis of Nyoro symbolic categories, or even of the more important of them, had yet been attempted. I hope myself to take up this theme in a forthcoming monograph on Nyoro ritual, though I believe that to do it justice will require some further detailed inquiry through the Runyoro language in Bunyoro itself. In the meantime Needham's interesting essay, based on most of the available written sources, is a significant contribution to the subject. There is certainly much research to be done on the symbolism of right and left and of other complementary oppositions in African cultures, and it is to be hoped that his pioneering efforts will stimulate further researches in these fields.

Word in the Desert

Abstract: The pessimism which sees all change as change for the worse is a recurrent theme of history, which history has recurrently refuted. Geoffrey Barraclough in An Introduction to Contemporary Histroy. We love apocalypses too much, and crisis ethics and florid extremism with its thrilling language. Moses Herzog.

Suggestion regarding gemeinschaft, inner creation, and role-taking (empathy) : i. david bakan on "epistemological loneliness"

Abstract: of two kinds of role-taking (empathy)-(a) an intuitional kind associated with Rorschachian inner creation (movement responsivity ) , with feeling, and with experience in its Eslebnis sense, and (b) an injere~ziial kind associated with Rorschachian rationality (form responsivity), with prediction, and with experience in its Erfahrung sense (Stark, 1968a), and (3) suggested that "drama" clusters with the former, i.e., with intuitional role-taking, inner creation, feeling, and Erlebnzs (Stark, 1968b). In this paper, I should like to begin to suggest the same about Ferdinand Toennies' concept of Gemeinschaft, i.e., that it too clusters with intuitional roletaking, inner creation, feeling, and Erlebnis (and Gesellschaft with inferential role-taking, rationality, prediction, and Erfahrung). I say "begin" because the suggestion will be presented in three parts, each a separate paper. The firsr (this one) deals with what David Bakan (1956, 1967) means by "a philosophy of epistemological loneliness." Specifically, it relates his interpretation of British Empiricism to Toennies' Gemeinschaft-Gerellrchaft distinction--or more precisely, it interprets his interpretation in terms of Toennies' distinction. The second part deals with Bakan's Dr~ality of Hz(man Existence (1966) treating it as a variation on Toennies' theme. The third and last part deals with Toennies' Community and Society (Gemeinschaft r~nd Gesellschaft), relating it to earlier macerials in the series. Although in these three papers I shall be referring only to Gemeinschaft, what I say about it is intended to apply as well to the concepts that John McKinney and Charles Loornis (Toennies, 1963) relate to Gemeinschaft-Emile Durkheim's "mechanical sol,darity," Charles Horton Cooley's "primary group," Robert Redfield's "folk society," Howard Becker's "sacred societies" ("folk" and "prescribed"), Pitirim Sorokin's "familistic relationship," Max Weber's "?uertsational," "affektz~ell," and "traditional" orientations, and Talcott Parsons' pattern

Further Attempts to Integrate and Urbanize First Grade Reading Textbooks: A Research Study

Abstract: In a previous article1 content analyses of one of. the first published multi-ethnic first grade reading series were presented and discussed. These analyses demonstrated that in many ways this series was similar to most traditional publishers' series which contain "all white" characters and are popularly called the "Dick and Jane" books. Ratings of theme, sexand ageappropriateness of activities and character attributes provided frequency distributions much the same as those series most commonly used in teaching children to read. The environmental setting of the multiethnic stories was even more suburban than the other series, despite the intention of its authors to create an "Urban" series. The stories did contain a striking integration of ethnic groups, however, leading to the conclusion that "what is actually being depicted is a Negro family living in a happy, stable, white suburban neighborhood."2

Amplification: A central theme in late medieval rhetoric

Abstract: Even though medieval rhetoric appears to lack direction and theme, an understanding of the society of the Middle Ages, the sources available to theorists, and the content of the ars dictaminis and ars praedicandi indicates that amplification provided such unity.

A rhetoric of alienation as reflected in the works of Nathaniel Hawthorne

Abstract: MAN's alienation from other men has served as a major theme in human progress from the collapse of the Greek polis to the modern race riots. Murray Greene writes, "Whether viewed in the light of Marx's fetish of commodities, Kierkegaard's sickness unto death, or Heidegger's 'thrownness' of man in the world, man is seen as estranged in the world in which he finds himself." Marvin E. Olsen defines alienation formally as "an attitude of separation or estrangement between oneself and some salient aspect of the social environment." Despite important studies on alienation by numerous political scientists, sociologists, and mass communicologists, the rhetorical scholar virtually has ignored a serious problem that bears deeply on every aspect of the communication process, whether viewed historically or from a contemporary point of

The Playboy as Poet

Abstract: J. M. SYNGE'S The Playboy of the Western World continues to be the most popular of his plays with both critics and the public. Recognized as a masterpiece of modern comedy, it is included in numerous anthologies and studies of drama. Its appeal is partially due to the play's dialogue; lyrical, rich in natural imagery, almost a folk dialect. But the play has also some thematic distinction, which accounts for its relevance to modern audiences and distinguishes it from the pleasant comedies of Lady Gregory and others of Synge's contemporaries. Synge admitted its serious implications: "The Playboy of the Western World is not a play with 'a purpose' in the modern sense of the word, but although parts of it are, or are meant to be, extravagant comedy, still a great deal that is in it, and a great deal more that is behind it, is perfectly serious when looked at in a certain light. That is often the case, I think, with comedy, and no one is quite sure today whether Shylock and Alceste should be played seriously or not. There are, it may be hinted, several sides to The Playboy."' Several interesting interpretations of the theme have been offered: T. R, Henn's discussion of the tragic nature of the plot, and its reliance on classic archetypes; Hugh H. MacLean's analysis of the scapegoat theme in the play; the political implications pointed out by David H. Greene; and Norman Podhoretz's analysis of the play as treating the rebellion of son against father.2 Although valid, these are partial interpretations. A more central theme, the growth of the poet, is noted by Maurice Bourgeois and Alan Price, but neither critic charts its progress thoroughly to see how it directs the entire plot and how it accounts for what seem to be flaws in the play.3 Musical and strange though certain passages of the play are, Daniel Corkery is justified in calling them excessive and uncontrolled; he proposes that the straining after unusual effects sometimes produces nothing more than "a mush of colour and sweet sound."4 However, Synge, in this play, is portraying the gradual growth of a poet; Christy Mahon passes from an apprenticeship, in which are evident the immature poet's errors and failings-strained similes, exaggerated emotional display, and weak language-to maturity in which he achieves Synge's ideal poetry--rich and earthy, humorous but profound. Synge's playboy, then, becomes the representative of Synge's poet described in his other works. And Corkery, in disregarding the play's central theme, has mistaken certain pu ple passages as evidence of the play's weak-

The Writer in Modern Africa : African - Scandinavian Writers´Conference, Stockholm 1967

Abstract: Twenty-four African writers and about as many writers and critics from Sweden, Denmark, Norway and Finland were invited to an African-Scandinavian Writers' Conference arranged by the Scandinavian Institute of African Studies, the Swedish Institute for Cultural Relations with Foreign Countries and the Councl for Swedish Information Abroad. The Conference was held at Hasselby Castle outside Stockholm in February 1967. This volumne presents some of the papers read to the conference and parts of the discussion, which reflect the dominant theme of the proceedings: the writer in the African society, his individuality and his social commitment.

Coleridge and the Consistency of 'The Eolian Harp'

Abstract: THE Eolian Harp" has long been praised for the distinctive structure it shares with Coleridge's other conversation poems and, according to one of its readers, with Wordsworth's "Tintern Abbey."1 Critics still admire the poem's structure, but they find its theme riddled with inconsistencies which, although very pious, are intellectually intolerable. The poem's conclusion has been damned as "reverently prosaic," "disastrously self-contradictory," and "distinctly anti-climactic," because in it the poet supposedly re treats into a form of medieval fideism which contradicts the exciting discoveries about the "one Life" made by his reason and imagination in lines 26-33 and 44-48.2 My suggestion is that Coleridge, who had a settled conviction that in Christianity alone the understanding "cul minates in faith," which is "at once its light and its remuneration,"3 would probably have denied, though he might well have under stood, the force of such an objection. Despite the obvious weakness in its diction, the conclusion ought rather to be read as another in stance of Coleridge's lifelong habit of subjecting his philosophic and aesthetic insights to the critical test of their conformity to his own unique experience. To Coleridge the experience of personal communion with God

Yin and Yang

Abstract: Man has often seen himself, uncertain and searching, between two opposing forces, for example, darkness and light or good and evil. As these pairs of forces are described in various commentaries and scriptures, it is clear that they have much in common beyond polarity. There are attractions—whether in the form of virtue, love, safety, or temptation—on either side of each pair; and a certain amount of knowledge, faith, searching, judgement, or wisdom is required to avoid the "bad" side, or departure from the "golden mean" or from Tao (the "way"). So persistent is this theme of opposites that it has, from all quarters of the earth, pervaded religions and philosophies. Relatively late in man's history, the concept of opposites appeared in mathematics, physics, and chemistry; but in these sciences the opposites have no ethical or judgemental connotations. The "negative pole" may have a pejorative ring in daily conversation, but not

Theme and Form in The Newcomes

Abstract: HACKERAY'S CRITICS generally agree that The Newcomes, with its painstaking detail in the depiction of a materialist upper middle-class society and its steady surge of direction toward a tragic conclusion, is a considerable achievement. It is consistently ranked as at least third among his novels and by John W. Dodds as "standing, in its scope and variety, with Vanity Fair at the head of all the novels." 1 Yet The Newcomes has received comparatively little critical attention. As Lionel Stevenson has pointed out,2 most of Thackeray's critics have concentrated on Vanity Fair and Henry Esmond; and though in their books on Thackeray Dodds and Gordon Ray3 have made general thematic studies of The Newcomes and John Loofbourow has included a brief stylistic description,4 the kind of close scrutiny provided by articles in periodicals is noticeably lacking.5 Published over a period of twenty-three months, and containing within its thousand-odd pages scores of characters and a wide spread of locations, The Newcomes certainly presents a complex problem for structural analysis. It is a world in itself, and the Newcome family constitute a whole society. There is no single character whose fortunes we consistently follow and little of what we normally consider plot. Henry James spoke of it, along with War and Peace and The Three Musketeers, as "a picture without

The Landlady: A New Interpretation

Abstract: The Landlady1 is still one of Dostoevsky's most enigmatic works. Various interpretations have been offered. While they do explain some aspects of the novella, its theme has remained as ambiguous as ever. One frequently met interpretation takes its clue from a discussion of the genre of The Landlady. Apart from the realistic framework, which approaches the style of the physiological school, the novella exhibits, it is said, the characteristics of the romantic Kunstmarchen and the arabesque. Aside from the fairytale trio of prince, princess, and wizard there are several fairytale plots and motifs mentioned in the story. If we add the folklorisms in the speech of the major characters, the interpretation of The Landlady as a literary recreation of various folklore subjects seems quite plausible. Professor S. Gibian has approached The Landlady on this level; for him the novella is "a recreation of folktale diction and imagery ... its plot is based on the three folklore motifs, man-woman dominance, the incestuous fatherdaughter relationship, and the Volga outlaw's tale." ( Gibian, 245, 248 ) . Other scholars have undertaken very detailed research in the subject matter of the novella with the aim of detecting its ultimate meaning by a comparative study of Dostoevsky's characters and motifs and their literary antecedents. In the course of their research they have unearthed a great number of literary sources, parallels, allusions, and the like. C. E. Passage has summarized the results of this approach to The Landlady.2 As if to justify the title of his book, Dostoevsky:

The Alexandrian Quest of The Non-Historical Christ

Abstract: The aim of this paper is to show that the Alexandrian Fathers, Clement and Origen, helped shape subsequent philosophy and theology in the West by following a selective line from the tradition at their disposal. I shall try to give evidence that the tradition was richer, more ambivalent, than they recognized, and that by their failure to honor the whole tradition they narrowed the vision of Christian theology and therefore of Western philosophy as well. Whether one could support such a large thesis by tracing the story further, examining the rival philosophical schools of our own day, for instance linguistic analysis and existential phenomenology, as examples of similar selections within the tradition, is another question. Meanwhile, it may be helpful to approach the Alexandrians, about whom so much has been written of polemical and apologetic nature, with this larger theme in mind.