Showing papers on "Theme (narrative) published in 1982"

Writing Fiction: A Guide to Narrative Craft

Abstract: *** indicate sections new to this edition. Preface 1. Whatever Works: The Writing Process Get Started Journal Keeping Freewriting Exercises The Computer The Critic: A Caution Choosing a Subject Keep Going A Word about Theme Reading as Writers*** About the Writing Workshop*** How Workshops Work*** The Writer's Role*** Writing Exercises 2. Seeing is Believing: Showing and Telling Significant Detail Writing about Emotion Filtering Comparison Types of Metaphor and Simile*** Metaphoric Faults to Avoid*** The Active Voice Prose Rhythm Mechanics "We Didn't," Stuart Dybeck*** "Big Me," Dan Chaon "The Red Fox Fur Coat," Teolinda Gersao (Translated by Margaret Jull Costa)*** Freewriting Exercises The Computer The Critic: A Caution Choosing a Subject Keep Going A Word about Theme Reading as Writers*** About the Writing Workshop*** How Workshops Work*** The Writer's Role*** Writing Exercises 2. Seeing is Believing: Showing and Telling Significant Detail Writing about Emotion Filtering Comparison Types of Metaphor and Simile*** Metaphoric Faults to Avoid*** The Active Voice Prose Rhythm Mechanics "We Didn't," Stuart Dybeck*** "Big Me," Dan Chaon "The Red Fox Fur Coat," Teolinda Gersao (Translated by Margaret Jull Costa)*** Writing Exercises 3. Building Character: Dialogue The Direct Methods of Character Presentation Dialogue Summary, Indirect, and Direct Dialogue Economy in Dialogue Characterizing Dialogue Other Uses of Dialogue Dialogue as Action Text and Subtext "No" Dialogue Specificity Format and Style Vernacular "Fiesta, 1980," Junot Diaz*** "Every Tongue Shall Confess," Z.Z. Packer*** "His Hand on my Restless Leg," Pia Z. Erhardt*** Writing Exercises 4. The Flesh Made Word: Characterization, Part II The Direct Methods of Character Presentation Appearance Action Thought The Indirect Methods of Character Presentation Authorial Interpretation Interpretation by Another Character Conflict between Methods of Presentation The Universal Paradox Credibility Purpose Complexity Change Reinventing Character Creating a Group or Crowd The Character Journal Character: A Summary "Mule Killers," Lydia Peelle*** "Bullet in the Brain," Tobias Wolff "Tandolfo the Great," Richard Bausch Writing Exercises 5. Far, Far Away: Fictional Place Place and Atmosphere Harmony and Conflict Between Character and Place Place and Character Place and Emotion Symbolic and Suggestive Place Alien and Familiar Place An Exercise in Place "The Sea Fairies," Maura Stanton*** "Love and Hydrogen," Jim Shepard "A Visit of Charity," Eudora Welty Writing Exercises 6. Long Ago: Fictional Time Summary and Scene Revising Summary and Scene Flashback Slow Motion "Homonoids," Jill McCorkle*** "Mrs. Dutta Writes a Letter," Chitra Banerjee Divakaruni "Feelers," John Gould*** Writing Exercises 7. The Tower and the Net: Story Form, Plot, and Structure Conflict, Crisis, and Resolution The Arc of the Story Patterns of Power Connection and Disconnection Story Form as a Check Mark Story and Plot The Short Story and the Novel "What You Pawn, I Will Redeem," Sherman Alexie*** "My Kid's Dog," Ron Hansen*** "Everything That Rises Must Converge," Flannery O'Connor Writing Exercises 8. Call Me Ishmael: Point of View Who Speaks? Third Person Second Person First Person To Whom? The Reader Another Character The Self Interior Monologue Stream of Consciousness In What Form? At What Distance? Consistency: A Final Caution "Missing Women," June Spence*** "Who's Irish?," Gish Jen "Reply All," Robin Hemley*** Writing Exercises 9. Play It Again, Sam: Revision Re-Vision Worry It and Walk Away Criticism and the Story Workshop Asking the Big Question: "What Have I Written" How Fictional Elements Contribute to Theme Revision Questions Further Suggestions for Revision Examples of the Revision Process "Notes on Keith" and early draft of "Keith," Ron Carlson*** Final Draft of "Keith," Ron Carlson Writing Exercises Appendix: Kinds of Fiction Credits Index

Anthropology of Knowledge

Abstract: Since the Annual Review of,4nthropology series has not previously contained a discussion of the anthropology of knowledge, this review will look at literature published since the mid-1970s. Volumes sporting phrases such as "anthropology of knowledge" are still comparatively rare (42, 47), despite the fact that such a label is quite appropriate for that rich tradition stemming from Durkheim and Mauss’s work. The work covered below is normally referred to by more familiar labels such as cognitive, categories, classification, universals, ideology, symbolism.1 Some colleagues would no doubt like to see the establishment of a subfield in the discipline called "the anthropology of knowledge." I have not advocated this despite the fact that there exist a "sociology of knowledge" and an "archaeology of knowledge." There have been too many fields enthusiastically developed within anthropology which have grown increasingly remote from the main stream until their oflicianados vanished in their own epistemological spaces. I suggested in 1976 that semantic anthropology (36) is not a subfield but merely a reminder of what anthropology is centrally concerned with. I have taken the theme "anthropology of knowledge" in the same way. After all, some would wish to define our basic concept of culture as a process of acquiring and displaying knowledge--of rules, values, and beliefs. The concepts "knowing" and "knowledge" are definable in a field of contrasts which includes concepts such as action, feeling, ideology, and it could be counterproductive, given the fundamental importance of these matters in the understanding of social life, to set up the anthropology of knowledge

Identification evidence : a psychological evaluation

Abstract: Kutas); "Ethology, Comparative Psychology, and Animal Behavior" (Charles T. Snowdon) "Audition: Some Relations between Normal and Pathological Hearing" (Dennis McFadden and Frederic L. Wightman); "Perception and Representation" (Paul A. Kolers); "Diagnosis and Clinical Assessment: The DSM-III" (H. J. Eysenck, James A. Wakefield, Jr., and Alan F. Friedman); "Personality: Stages, Traits, and the Self" (Jane Loevinger and Elizabeth Knoll); "Evaluation Research: A Methodological Perspective" (Paul M. Wortman); "Instructional Psychology" (Robert M. Gagne and Walter Dick); "Hormonal Influences on Memory" (James L. McGaugh); "Comprehension, Production, and Language Acquisition" (Eve V. Clark and Barbara Frant Hecht); "Animal Cognition" (David Premack); "Cross-cultural Research in Psychology" (Richard W. Brislin); "Psychopathology: Biological Approaches" (Monte S. Buchsbaum and Richard J. Haier); "Personality Structure and Assessments" (Leonard G. Rorer and Thomas A. Widiger); "Social and Personality Development" (Ross D. Parke and Steven R. Asher); "Social Inference" (Reid Hastie); and "Psychology of Adult Development and Aging" (James E. Birren, Walter R. Cunningham, and Koichi Yamamoto). There are author and subject indexes, and cumulative indexes of authors and of chapter titles for volumes 30-34. A detachable order form and envelope lists all annual reviews of all areas and their prices. There is much material in the current volume from the areas of personality and social psychology, and some repetition exists in the several chapters touching on these areas. Perhaps the strongest theme throughout the book is cognitive psychology; it appears in almost all chapters.

Developments in the Design of Experiments

Abstract: Summary A survey is given of recent developments in the design of experiments, based on the literature of the last five years. Optimum design theory emerges as a unifying theme, even in such classical areas as incomplete block designs.

Tragic form and feeling in the Iliad

Abstract: These hours of backward clearness come to all men and women, once at least, when they read the past in the light of the present, with the reasons of things, like unobserved finger-posts, protruding where they never saw them before. The journey behind them is mapped out, and figured with its false steps, its wrong observations, all its infatuated, deluded geography.Henry James, The Bostonians, ch. xxxixThis paper is intended to contribute to the study of both Homer and Greek tragedy, and more particularly to the study of the influence of the epic upon the later poets. The current revival of interest among English scholars in the poetic qualities of the Homeric poems must be welcomed by all who care for the continuing survival and propagation of classical literature. The renewed emphasis on the validity of literary criticism as applied to presumably oral texts may encourage a more positive appreciation of the subtlety of Homeric narrative techniques, and of the coherent plan which unifies each poem. The aim of this paper is to focus attention on a number of elements in Greek tragedy which are already present in Homer, and especially on the way in which these poets exploit the theme of knowledge—knowledge of one's future, knowledge of one's circumstances, knowledge of oneself. Recent scholarship on tragedy has paid much more attention to literary criticism in general and to poetic irony in particular: these insights can also illuminate the epic. Conversely, the renewed interest in Homer's structural and thematic complexity should also enrich the study of the tragedians, his true heirs.

The Compelling Image: Nature and Style in Seventeenth-Century Chinese Painting

Abstract: The remainder of the book is devoted to a series of more specialized studies of topics in literary history growing out of the San-yen materials. First, the author considers the perennigr-theme of the courtroom trial as a reflection of changing attitudes towards the judicial process from Sung through Ming. Then he turns to the ubiquitous theme of love, in its varied manifestations, from examples of sheer sexual excess to more noble forms of attachment. In both of these sections he provides a useful review of the historical development of these thematic concepts in literary works from the Six Dynasties up to the Ming, followed by close analysis of copious examples drawn from the San-yen stories themselves. His interpretations of the themes of justice and love, respectively, lean rather heavily on the notions of the new self-assertiveness and pursuit of individual fulfillment, associated by Ono and other scholars with the general spirit of the age.

Mother of the Blues: A Study of Ma Rainey

Abstract: Briefly portrays the life of the influential blues singer, Ma Rainey, discusses the development of her music, and analyzes the theme of love in her music.

The Song beyond the Song Aesthetics and Social Interaction in Greek Folksong

Abstract: body of meaning that is accessible to the outsider.1 Either a plot, however nominal, or the clarity of the situation, such as death, becomes the means for thematic organization and the conveyance of meaning. Though layers of additional meaning are created, for example, in performance or through metaphors and allusions with traditional, regional associations, there is, nonetheless, a degree of apparent accessibility in the content of the song that allows even an audience unfamiliar with folk poetry to apply, to some degree, the western aesthetics of written poetry to the interpretation of it. There is, however, a considerable corpus of folksongs and range of performance styles in most local repertories that appear to lack any of these devices for "making sense" common to other more familiar types of poetry: beginnings, middles or endings, smooth transitions from theme to theme, even minimal plot, etc. It is performance, rather than song type, which renders this body of folk poetry incomprehensible by western aesthetics. Whereas written collections of folksongs (Aravandinos 1880; Fauriel 1824; Petropoulos 1959; Politis 1914; etc.) present us with apparently complete versions of songs, performance often yields songs which appear fragmentary. Performance and social context reveal a body of meaning connected with the usage of songs, particularly when these are components of a larger performance event. In the past few years, a significant number of performance studies in folkloristics has provided us with useful models and methodologies for understanding oral events (see, e.g., Ben-Amos and Goldstein 1975; Bauman 1977; Paredes and Bauman 1972). An important source of folk aesthetics can be extracted from folk criticism-the criticism of the tradition bearers themselves. On the other hand, Albert Lord in his book The Singer of Tales demonstrates the existence of a

The Controversy of the Correctoria and the Limits of Metaphysics

Abstract: The first defenses of Aquinas's doctrine after his death, particularly those five polemical works known as the correctoria, are usually read as illustrations of the intellectual forces of the late thirteenth century. The correctoria are used to show the struggle between "Augustinianism" and "Aristotelianism," between Franciscans and Dominicans, between anti-Thomists and Thomists. It is true that they are anti-Augustinian, after a fashion. They come from Dominican hands, and they defend Thomas. But it is important to see why they reject the views of the self-proclaimed Augustinians and which Thomism they defend. Beyond any question of partisanship, the correctoria deserve to be read as original works of speculative self-consciousness. The Augustinianism they contest is one of philosophical literalism in method and doctrine; the Thomism they defend is one of analogical plurality and methodological restraint. The authors of the correctoria speak substantively about what Thomas achieved for the method of philosophical discourse and say pointedly why it is that his achievement offends their adversaries. Their adversaries began the debate, of course. It is notorious that two slates of condemnations were handed down with episcopal sanction in March of 1277 at Paris and Oxford. Each of the slates contains propositions that resemble propositions taught by Aquinas.' Whether and to what extent they were aimed at him, how they were composed and with what rationale, what further effects they engendered these are matters of controversy.2 The events of the correctoria debate, which constitute only a theme within the larger movement of contestation, are relatively clearer, if only after seventy

II. Fantasy theme criticism: A peroration

Abstract: (1982). II. Fantasy theme criticism: A peroration. Quarterly Journal of Speech: Vol. 68, No. 3, pp. 306-313.

Individualism and the Emerging “Modern” Ideology of Death

Abstract: One predominant theme of Ernest Becker's The Denial of Death and Alan Harrington's The Immortalist is the impact of individualism upon orientations toward death. This paper begins with a theoretica...

T.S. Eliot, 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.

The rattle bag

Abstract: "The Rattle Bag" is an anthology of poetry (mostly in English but occasionally in translation) for general readers and students of all ages and backgrounds. These poems have been selected by the simple yet telling criteria that they are the personal favorites of the editors, themselves two of contemporary literature's leading poets. Moreover, Heaney and Hughes have elected to list their favorites not by theme or by author but simply by title (or by first line, when no title is given). As they explain in their Introduction: "We hope that our decision to impose an arbitrary alphabetical order allows the contents [of this book] to discover themselves as we ourselves gradually discovered them--each poem full of its singular appeal, transmitting its own signals, taking its chances in a big, voluble world." With undisputed masterpieces and rare discoveries, with both classics and surprises galore, "The Rattle Bag" includes the work of such key poets as William Shakespeare, Walt Whitman, Emily Dickinson, Lewis Carroll, Dylan Thomas, Wallace Stevens, Elizabeth Bishop, and Sylvia Plath among its hundreds of poems. A helpful Glossary as well as an Index of Poets and Works are offered at the conclusion of this hefty, unorthodox, diverse, inspired, and inspiring collection of poetry.

Car Ownership Forecasting

Abstract: Originally published in 1982, this book gives a concise commentary on the development and performance of car ownership prediction procedures and a wide-ranging survey of the modelling techniques associated with forecasting. The book provides a basic appreciation of the key points, whether they are mathematical or otherwise. Throughout the book there is a theme which relates the academic debate surrounding the issue to technical rather than philosophical concepts.

Fitzgerald and Cather: The Great Gatsby

Abstract: SHORTLY after The Great Gatsby was published in 1925, F. Scott Fitzgerald received a letter from Willa Cather complimenting him on his achievement.' Fitzgerald was understandably excited about the letter, so much so that he woke up Christian Gausse and his wife at one o'clock in the morning to celebrate.2 His behavior was extravagant, for Gausse was a Dean at Princeton and much Fitzgerald's senior, but extravagant behavior was not unusual for Fitzgerald. Nevertheless, there is reason to suppose that the excitement Cather's letter generated in the young author was authentic and that it somehow verified his own ambitions for his new novel. For he had consciously striven to emulate Cather's literary technique; but, more importantly, she had exerted a greater influence upon him than even he seems to have realized, in matters of incident and story as well as style and technique. Maxwell Geismar, in his book The Last of the Provincials, was the first to suggest the influence of Cather upon The Great Gatsby. He perceived a similarity of theme and tone in the concluding passages

Chiasm in Theme and by Form in Revelation 18

Abstract: My colleague Kenneth Strand has made significant contributions to the literature on the biblical book of Revelation in his studies which have elucidated its chiastic literary structures on both the large and small scale.' I find these studies persuasive and am in agreement with him that chiasmus was a literary technique commonly employed throughout this book. The present brief study is presented to lend support to that idea by identifying a chiasm by form in Rev 18 where Strand has already found a chiasm by theme to be present.2

Ernest Hemingway : 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.

Re-Enacting the Past: Using R. G. Collingwood at the Secondary Level

Abstract: SINCE AT LEAST 1967, when Edgar Bruce Wesley published his caustic "Let's Abolish History Courses," history teachers have seen themselves as embattled academics.1 Articles have regularly appeared in prominent journals of education with titles like "The End of History," 2 "Why Study History?,"3 "Clio at the Crossroads,"4 and "The Erosion of History."s The sense of urgency that often accompanied these articles helped inspire a host of curricular theories, each with the expressed aim of revitalizing the sick man of the social sciences. These proposed reforms have generally focused on one of three distinct areas, the function of history,6 historical methodology, 7 or historical content. 8 Despite significant differences one common theme runs through each of the approaches, the overwhelming desire to make history "alive" for students. But to make history relevant or alive is to assume it is irrelevant or dead in the first place, and in this view of history both critics and reformers join company. However innovative the reformers have been in answering the critics none has really challenged that conception of history which still dominates our classrooms. Such a challenge was

Newton the Mathematician

Abstract: ‘Newton and mathematics’, not ‘Newton’s mathematics’ in any very narrow sense, is my theme in this paper. Expect no flash and bang of verbal pyrotechnics. My mood will be one of musing — even maudlin — retrospection, not hard analysis or bold historical hypothesis.

The Changeability of Musical Experience

Abstract: I greatly appreciate the honor of having been nominated to give the Distinguished Lecture at this meeting, especially because this annual series was initiated by my friend, the late Charles Seeger (1977:179-188). On that occasion, in 1976, Charles thought it "appropriate to consider the making of a survey of the field of musicology as a whole" and to develop his view that, as he put it, "musicology of whatever kind, is a speech study." To him, speech and music were two different modalities of mental and emotional activity. He went even further, calling speech an intruder, saying that it is obstructive and that it represents extraneous mental activity or feeling. Elsewhere he thought fit to choose a triadic title for a paper: "Music, Speech, and Speech about Music." Charles Seeger was first and foremost a musician, and he could express himself very clearly from that vantage point. For instance, when a group of freshmen at Northwestern University asked him, "Sir, what is music?" he simply pointed a finger to his forehead and said, "Music is the tune in my head." He addressed his audience at that first Distinguished Lecture (1977:185), directly, in the imperative, and spoke from the heart when he said, "Try to remember what the making of music was when you were making it at your best, most concentrated, and probably most free of extraneous matter." Seeger was very careful with words; he did not speak of music but of the making of it. These matters were the perennial theme of our discussions. Of course, on the one hand there was nothing to discuss because I accepted the thesis of the linguocentric predicament. Yet, on the other hand, I could not suppress my curiosity about the nature and functions of these "intrusions" of whose reality I had no doubt. The question had to do not only with what these intrusions were but also with the sense in which they could be said to subtract from musical experience or, as the case might be, add to it. I could not ignore what I knew of intrusions from my own musical situation. Although I could see the validity of the argument, I found it difficult to accept the implications inherent in the predicament. For instance, it would have gone against the grain for me to put music and musicology in an irreconcilable either-or relationship. To satisfy my curi-