Showing papers on "Theme (narrative) published in 1970"

The Department of Transportation: Concept and Structure

Abstract: portation agency occurred as early as 1874, and recommendations of this nature became particularly frequent from the 1930's on,' Congress did not adopt a cabinet-level Department of Transportation (DOT) until October 1966.2 The key word and theme in the official declaration of policy for the agency was coordination. President Lyndon B. Johnson cogently summarized the ultimate objective as being "a coordinated transportation system that permits travelers and goods to move conveniently and efficiently from one means of transportation to another, using the best characteristics of each."3 Transportation coordination has physical, economic, social, and political dimensions, and it was the manifest hope of the President and the Congress that each of these dimensions would benefit from the establishment of DOT.4 For

Oscar Wilde: 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 compliments the first 68 volume set of Critical Heritage published by Routledge in October 1995

James Joyce: the critical heritage

Abstract: This set comprises 40 volumes covering nineteenth and twentieth 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 compliments the first 68 volume set of Critical Heritage published by Routledge in October 1995.

A Note On Oral Tradition And Historical Evidence

Abstract: There are a number of assumptions about the nature of oral tradition in Africa which are sometimes made by historians and others. Two of these will be discussed in this Note the assumption that "oral tradition" is something unitary and selfevident and that it is somehow impervious to many of the factors which historians usually take account of in critical assessment of sources. These (and other) assumptions about the nature of oral tradition are generally unconscious, but perhaps because of that -they have often seriously affected its use as a source in African history. Of course not all historians make the assumptions discussed here, but they are common enough to warrant some general comment. The common assumption that "oral tradition" is something uniform, something that can be treated as an undifferentiated and self-evident entity, leads to the tendency of some historians' and others to speak of "oral tradition" generally as a source, without apparently feeling the need which would be obvious in the case of documentary sources to describe and analyze the detailed source material. In practice a number of very disparate sources have often been lumped together under the name "oral tradition." Broadly one can list three main classes of oral tradition: recognized literary forms, generalized historical knowledge, and personal recollections. First there is what has been called "oral literature." Though hard to define precisely, this class is composed of various types of both prose and poetry which correspond to literature in literate societies. Oral literature is relatively formalized, in the sense not of verbal accuracy but of genres clearly recognized in the society, and is sometimes poetry especially regarded as the product of specialist activity. A brief survey of the forms of oral literature follows.2 Praise poetry is one of the best known forms, occurring in most of the traditional centralized states of Africa. Since its main theme is eulogy (most often of the ruler) it is political propaganda, and we cannot expect any very direct historical information, in the sense of exact description or narration. Nevertheless, praise

Proof by Contradiction

Abstract: Besides the subject mentioned in the title, we will bring also another theme up for discussion in this chapter, namely, the systematic conversion of closed deductive and semantic tableaux, already alluded to in par. 7.

My Echoing Song: Andrew Marvell's Poetry of Criticism

Abstract: Professor Colie brings together all previous and partial perspectives on Andrew Marvell, adds new ones harvested from her own deep learning and wide research, and transforms the whole into what Professor Joseph Summers of the University of Michigan has called "the best critical book on Marvell's poetry." Rich in details and knowledge of seventeenth-century English poetry, aesthetics, Renaissance and Baroque literature and art, and critical theory, "My Ecchoing Song" first examines Marvell's uses of theme and device in various lyrics. Later parts of the book concentrate on "Upon Appleton House" and "The Garden," which Professor Colie reads from the various focuses of political history, Marvell's knowledge and use of emblems and classical authors, contemporary theology, philosophy, and painting. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Science Industry and Society: Studies in the Sociology of Science

Abstract: Originally published in 1970. Two major changes have characterised science in the twentieth century. Firstly, there has been its rapid growth. Secondly, and central to the theme his book - science is no longer mainly an academic activity carried on in universities. Industry will soon be the largest employer of scientists. This book deals with issues of bureaucracy in science threatening its creativity and the failure of industry to recruit the best graduates, as well as what attracts people to study science.

Culture Confrontation in the Lower Congo : From the Old Congo Kingdom to the Congo Independent State with Special Reference to the Swedish Missionaries in the 1880's and 1890's

Abstract: The culture confrontation remains the central theme throughout this book, with special emphasis given to points of conflict. My approach to each particular era has been guided by the question: What ...

The Literary Views of Gottfried von Strassburg

Abstract: LTERARY CRITICISM of any sort is unusual in medieval writing. When works are cited or discussed, it is usually to help a student to formalize his own endeavors, and the authors used for the purpose are those beyond criticism, that is, the classical writers who have long been canonized. Any mention of contemporary authors is rare and when it occurs at all it is usually inspired by either affection or rancor and does not constitute literary criticism in any real sense of the term. Style or even poetic method is never discussed. There were, of course, numerous "Arts of Poetry" in Latin and in some of the vernaculars but these are works written with the express purpose of providing rules of poetic composition. They are prescriptive, not critical. In view of this absence of even the most rudimentary literary criticism in the work of contemporaries, it is surprising to find embedded in a courtly romance an apparent digression which seems at first sight to be a review of the present state of the poetic art, complete with all the touchiness and prejudice which one associates with artists talking about their rivals' work. The passage has actually been called "Gottfried's literary criticism" and it is, of course, best known for its caustic references to a writer who is almost certainly Wolfram von Eschenbach. But does the passage in fact constitute literary criticism? Gottfried was not the kind of artist who dropped his theme to make asides, particularly asides of 456 lines. Nor, when the passage is inspected closely, is there much literary criticism in it. Very few authors are mentioned, and, as I hope to show, they are mentioned in a specific order with a very definite purpose in mind. The whole passage is an organic part of the romance, a carefully integrated discussion of the means of telling Tristan's story within the story itself.' There is no need to spend very long in discussing the reasons for the substitution of a literary excursus for a description of a formal ceremony of knighting. Gottfried says that the subject has been treated ad nauseam (although there are no such descriptions in the works of Hartmann and Wolfram), but that is not his real reason for avoiding the subject. Tristan is, for Gottfried, a literary figure or, as I have shown elsewhere, an artist.2 It would have been perfectly suitable to show his father Riwalin going through the ceremonies of investiture but to do so for Tristan would have been an offense against his nature. Here is the very point on which Gottfried and Wolfram disagreed most violently, for Parzival is the literary representation of a true knight, while Tristan is a literary figure, an artist who assumes the form of a knight because the chivalric romance was the principal literary genre of the day. If Tristan is to be made a knight, he must be made a literary knight, and it will be necessary to endow him not with the sword and spurs of the fighting man but with the qualities needed in a romance and furthermore in a romance of a very special kind. Here we must observe very closely. We are told that thirty other young men are to be knighted with Tristan, and their clothes-that is, their vestments, their new acquisitions or, allegorically, th qualities they take on when they become k ights-are these:

Ordinariness and Light: Urban Theories, 1952-1960 and Their Application in a Building Project, 1963-1970

Abstract: Until recently the ideas of Alison and Peter Smithson have been known mainly to those professionally involved in architecture and urban design. This is so because they have presented their ideas usually in project form, accompanied by elliptical texts designed to prevent the building up of rigid thought patterns in the minds of those studying them."Ordinariness and Light, " by contrast, is an extended exploration of their theories and work over the past seventeen years, in which not only their aesthetic but also their political and emotional concerns are made plain. The book brings together a previously unpublished long text of 1952-53, "Urban Re-identification," and a sequence of later essays and statements. All this material has been revised for the present volume, and provided with a linking commentary.The general theme is "the invention of an architecture structured by notions of association." The authors argue that the form of the city and the town must correspond to the human needs of the present; looser knit than in the past, even the quite recent past; more open and changing. And for city and town to correspond to this pattern of society there must be better systems of physical communication, and new form-concepts through which society can recognize and realize its new self.The arguments, examples, and illustrations in the book show how a very small shift in our way of looking at the ordinary things that go to make up cities and towns could restore to them their rich classic connotations. Houses would once more feel like places of adventure, as well as security; roads would be made to give a sense of cohesion and connection, as well as of release. For the Smithsons, to sense an "ordering" in things is to feel liberated and free to use them. "Ordinariness and Light" will enable all who are exercised about the deterioration of urban life to share their dream of cities that can breathe. It may help, perhaps, to generate in society at large that kind of committed participation that their notion of "ordering" implies.

The Exegesis On the Soul

Abstract: with some Achmimic and Subachmimic influence 2). But little has appeared on Tractate 6, The Exegesis on the Soul. The opening lines have been published in text and in translation 3). By reference to his translation of the opening lines, S0REN GIVERSEN identified the theme: "That the soul has joined the body, can, however, in certain texts be called adultery or prostitution" 4). And KRAUSE summarized the contents as follows: "Der Verfasser dieser Abhand-

Mythic Themes and Literary Analogues in Lowell's Prometheus Bound

Abstract: The present study will be concerned primarily with an interpretation of Lowell's derivation of Prometheus Bound as he adapted that play from the Greek playwright Aeschylus' version, with a study of the development of his themes in that play, and with consideration of some of the sources upon which those themes are dependent.

"Vacant Heart and Hand and Eye": The Homosexual Theme in A Room With a View

Abstract: Like Howards End. A Room With A View (I9O8) is structured by a series of contrasting characters, settings and values which heighten the dramatic tension and enforce the theme. In the first novel the Schlegel-Wilcox opposition suggests a number of thematic polarities: feminine-masculine, culture-business, socialism-capitalism, country-city, tradition-change, private-public, intuition-calculation, homes-houses. In A Room With A View there are similar polarities: Emerson-Eager, George-Cecil, Lucy-Charlotte, Mrs. Honeychurch-Mrs. Vyse; Italy-England, Surrey-London; and classical-medieval, passion-intellect, instinct-convention, truth-lies, outdoor-indoor, sunlight-shadow. The views, music and violets are symbols of the first group while snobbery, hypocrisy and repression define the second.1

The idea of the town: Typology, definitions and approaches to the study of the medieval town in northern Europe

Abstract: This essay is based on empirical studies, and the analysis of actual ideas of towns is regarded as more important than the prescription of definite solutions. In an historical introduction the controversies are shown to be of professional, geographical and national origin. The theme is treated from three view‐points: (1) typology of towns; (2) definition of towns; and (3) approaches to the town in terms of ‘structures’ and ‘functions’.

Friends By Unrighteous Mammon: The Eschatological Proletariat (Luke 16:9)

Abstract: 1UKE 16:9 has been a troublesome verse for interpreters of Jesus' parables. Many consider it a separate saying of Jesus, appended by _4 Luke to the parable of the "Dishonest Steward/' which would have ended originally with vs. 8 (possibly vs. 8a, or even vs. 7). C. H. Dodd does not discuss the story in his Parables of the Kingdom, but gives his judgment that vss. 8, 9, and 10 ff. are secondary additions. Some, however, believe that vs. 9 belongs to the original parable.' Luke evidently understood that it did, even if he then proceeded to elaborate some variations on its theme in vss. 10-13. Bultmann lists the parable (16:1-9) with those whose original meaning " . . . has became irrecoverable in the course of the tradition." Can nothing be said about its meaning? First we must ask some questions. In particular, what are the "eternal habitations" or "tabernacles," who are the "friends," and why will "they" receive "you" into the "eternal habitations"? Is the saying meant seriously, or sardonically? The latter would be the case if the "eternal habitations" meant Sheol, the place where the unrighteous dead reside forever in misery and despair, as in Enoch 63:10 (cf. Eccles. 12:5).

Knemon's Hamartia

Abstract: In a recent article on Menander, Professor Arnott acknowledges his debt to the conclusions of the late Armin Schafer with regard to the construction of the Dyskolos. Schafer's theory, briefly stated, is that Menander was faced in this play with the problem of combining two different themes—the romantic love-interest (involving Sostratos and Knemon's daughter) demanded of New Comedy, and a character-study of the misanthropic Knemon. Menander comes near to a solution, argues Schafer, but these two elements are basically irreconcilable, and the play consequently fails to achieve complete unity of action. In the following pages I shall try to show that the conflict between the two sides of the play is an imaginary one (created in our minds, perhaps, by our knowledge of the lines along which ‘comedy of intrigue’ and ‘comedy of manners’ subsequently developed), and that the carefully integrated plot reflects a unity of theme in the comedy as a whole.

D.H. Lawrence : 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 compliments the first 68 volume set of Critical Heritage published by Routledge in October 1995.

Towards a Definition of the Novella

Abstract: There is still no acceptable definition of the German novella. The literature on the subject is prescriptive and proscriptive; its generalizations will not bear scrutiny; characteristics are ascribed to the novella that are common to all genres; too little attention is paid to theory and practice in non-German literatures. The history of the novella in European literature shows a development from entertainment to high art; a broadening of theme, tone, style; an evolution from a social game to a criticism of life. The present paper emphasizes the emergence of the long story (or short novel) since the eighteenth century and the tendency of Anglo-American criticism to classify fiction according to length. Four subdivisions are proposed: novel, novella (= short novel), short story, anecdote. The length tells us nothing about essence; it is no more than a convenience. All fiction has the same concerns and may use the same techniques, in so far as space will permit. Recent scepticism about the validity of classification by genre supports the position of this study.

Pudd'nhead Wilson: A Parable of Property

Abstract: THE STRIKING LACK OF AGREEMENT about the merits of Mark Twain's Pudd'nhead Wilson is unquestionably related to the equally striking disagreements over interpretaton of the novel, related in the crucial sense that all the thematic analyses so far presented leave important aspects of the novel unaccounted for. The result is that those who are inclined to praise the novel dismiss certain parts as finally inconsequential evidence of Twain's predictably careless technique, while those who have serious reservations about its merits stress its lack of coherence, its lack of an action adequate to embody what appear to be the author's chief concerns. Although interpretations vary widely, ranging from the view that its theme is the conflict between appearance and reality to the assertion that it has "no clear meaning,"' two interpretative emphases are most common. First, there are those critics who stress racial themes, especially slavery and miscegenation, and second, those who argue for the centrality of the theme of environmental determinism and see slavery as simply a metaphor for Twain's more general concern with the influence of "training" on the individual.2 Although both these approaches yield valuable insights, both are finally unsatisfactory because they leave too many important questions unanswered-except by alluding to Twain's uncertain artistry.

The Theme of Judgment in The Canterbury Tales

Abstract: Despite some recent animadversions on the architectonic function of the Parson's Tale,^ most critics since Ralph Baldwin^ have agreed that the Parson's answer to the Host's call to \"knytte up wel a gieet mateere\" (X.28)3 makes a suitable finish for the Canterbury Tales. Penance, however besmirched its motives, is the final reason for pilgi image; and the interposing of a visible sign of grace in the person of a holy confessor between the penitents and their destiny, if not obviously appropriate to us moderns, was strikingly significant to the pilgrims:

James Joyce. Volume I: 1907-27

Abstract: This set comprises 40 volumes covering nineteenth and twentieth 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 compliments the first 68 volume set of Critical Heritage published by Routledge in October 1995.

Benjamin West on William Williams: A Previously Unpublished Letter

Abstract: and Sailors' Almshouse on King Street in Bristol, in the West Country of England.' This sixtythree-year-old mariner-painter-storyteller bequeathed his few possessions to Thomas Eagles of Bristol, a wealthy merchant and classical scholar who had befriended him in his later impoverished years. His bequests included books and papers; artist's paraphernalia; his Self-Portrait; the portraits of his two wives; an unfinished picture "on the theme of Penrose"; and a neatly bound holograph clean copy of a long, unsigned, but presumably autobiographical narrative, "Mr. Penrose: The

Language as a Theme in: No Longer at Ease

Abstract: ... no serious weight of opinion today against the continued presence of English on the Nigerian scene. This is fortunate for our peace of mind for it means we can believe in the value of English to the very survival of the Nigerian nation without feeling like deserters. Thus we can use our energies constructively in the important task of extending the frontiers of the language to cover the whole area of our Nigerian consciousness while at the same time retaining its world-wide currency. I

“Le désir amputé, sexual experience of Lebanese women”

Abstract: It has been thirteen years and a half years since L’Harmattan published my work “Le desir ampute” on the sexual experience of the Christian woman in a traditional Lebanese society, and fifteen and a half years since it has been submitted as a PhD thesis. Ever since, solicitations concerning the same theme at meetings, in periodicals … have been at the origin of further publications on sexual education, the male/female relationship, the experience of the body, etc …

A Retrospective Look at Undergraduate Economics

Abstract: With humor, as well as wisdom, experience, and insight, Ben Lewis conveys an “evangelical message” admonishing college economists to give “top priority” to the introductory courses. Deploring the lack of concern about the beginning course, he calls upon us to make it so attractive to students that few will want to miss it. A policy-oriented course with opportunity cost as “the great recurrent theme” is proposed.