On Destiny Pappas, Nicholas J
2016, 2016-01-01
eBook
Philosopher Nick Pappas invites us to join the conversation as a few wise friends explore what it takes to live a meaningful life, to produce meaningful art, and to support others in their own ...efforts to fulfill their potential.
Casanova Toubiana, Guy David
Romance quarterly,
20/7/1/, Volume:
56, Issue:
3
Journal Article
Peer reviewed
This article investigates the role of magic and its influence on Casanova's myth, and it elucidates a literary problem in Histoire de ma vie that has puzzled Casanovists since the publication of ...Memoirs.
To say that the Enlightenment was the era of reason could be perceived as a truism by literary specialists. Magic and alchemy were very much in vogue among philosophers as well as charlatans. To this effect, the Memoirs of Casanova represents a precious testimony of this dichotomy that was not unusual in the eighteenth century. The cabbalistic episodes play an important role in Histoire de ma vie, but paradoxically the author strongly denies the value he gave to these activities. The analysis of certain excerpts shows that Casanova acts to gain his readers' trust to surreptitiously communicate his capacity to perform the impossible. The ductility he confers to words allows him to present himself as a fake magician as well as a true philosopher. However, after a careful reading, this picture falls apart and reveals a powerful sorcerer who can still remain a philosopher. Magic is introduced as an essential element of the author's destiny and is one aspect of his legend.
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This essay explores Shaw's relationship with Dublin amateur theater from 1907 to 1914, moving from hostile clashes to a mutual partnership that benefitted all principals. Beginning with a request for ...a Shaw week by Dublin's Players’ Club, under Anthony Evelyn Ashley, Shaw moved to protect his plays from amateur companies attempting to stage weeklong performance runs under amateur terms. Yet by 1912, when Ashley and his wife, former professional actor Flora MacDonnell, staged John Bull's Other Island, the production dovetailed nicely with Shaw's inexpensive publication of the play aimed toward the new Home Rule Bill for Ireland then being debated. In the following year, Ashley and MacDonnell teamed with Casmir Markievicz to establish the Dublin Repertory Theatre. In that year, Markievicz staged The Devil's Disciple in a production that reflected Dublin's growing labor unrest on the eve of the infamous Dublin Lockout. In November 1914, Ashley and MacDonnell staged Mrs Warren's Profession in a much-publicized production, which Shaw followed days later with a call in the Dublin press for Irish enlistment in the Great War. The 1907–14 period also saw numerous professional companies touring Dublin with Shaw plays, which Evelyn Ashley's productions complemented in bringing Shaw, or his plays, home to Dublin, and which Shaw used to enhance his developing interest in Dublin and Irish affairs.
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474.
Writing Whiteness NEWCOMBE, EMMA
Early American literature,
01/2019, Volume:
54, Issue:
1
Journal Article
Peer reviewed
This article explores the relationship between print culture, tourism, and antebellum social and political issues. I define the antebellum tourism guidebook as a unique genre that disavowed the ...existence of nontourist populations through text and image. In particular, I argue that guidebook authors quote and cite the work of other authors (including Washington Irving) to create a mythology for the Catskills that marginalizes nonwhite people and encourages their removal: by imagining Native Americans as belonging exclusively to a mythic past, Irving and other authors provide a metaphorical framework for Manifest Destiny. This article exposes how deeply embedded tourism print culture was in antebellum ideologies of progress and empire.
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American Christian pilgrimage to the Holy Land started within a historical and ideological context shaped by American territorial expansionism. The settler-colonial impulses informing that ...expansionism were carried to Palestine, where Palestinians were encountered as “savages” compared explicitly to American Indians. Erasure of the Holy Land’s Indigenous inhabitants is thus sanctioned. Herman Melville’s Clarel and Mark Twain’s Innocents Abroad record this encounter. We must be aware of this history if it is not to be repeated in contemporary pilgrimage practices.
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By way of framing Manan Ahmed Asif's intriguing personal (and poetic) reflection entitled “Idol in the Archive” in this current issue of the Journal of Asian Studies, it must always be remembered ...that in August 1947, the old British Raj gave birth to not one but two independent nation-states, namely India and Pakistan. India became a “Sovereign Democratic Republic” when its Constitution came into effect on January 26, 1950, following adoption of its draft Constitution by its Constituent Assembly on November 26, 1949. Pakistan took a bit longer, becoming the “Islamic Republic of Pakistan” when its first Constitution came into effect on March 23, 1956. Furthermore, of course, Pakistan underwent secession of its Eastern Province with the founding of the “People's Republic of Bangladesh” in 1971. It is hardly an exaggeration to suggest that partition is the defining event of modern independent India and Pakistan, and, more than that, continues to be the defining event of India and Pakistan even after more than fifty years of independence.
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479.
Emar Tode Miguel Herrero De Jäuregui
Classical antiquity,
04/2013, Volume:
32, Issue:
1
Journal Article
Peer reviewed
The expression “(on) this day” has an extremely pregnant meaning in different contexts of early Greek poetry. It is used in rituals and in solemn utterances, but it is much more than an emphatic way ...of saying “today.” It shows that the speaker is recognizing that a decisive, irreversible moment is approaching. Such knowledge of the appointed destiny is only accessible to the gods or to mortals inspired by them, which often makes the authoritative utterance “this day” a performative speech-act that brings immediate accomplishment. The study of the instances of this expression, both with ἦμαρ and ἡμέρα, in epic, religious poetry, and tragedy, also sheds light on the different Greek notions of what a decisive day was.
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The film, Weaving Girl, focuses its camera upon laid-off workers who lost their jobs during the time of the Chinese government's vehement neo-liberal reforms following the 1990s. The narrative ...framework takes the triangular relationship of a woman and her two lovers. On the surface, it narrates a "tragic" story of a passionate woman, which seemingly is a reflection of the unfortunate destiny of the Chinese working woman in the era of reform; and there is a certain intersection between class and gender. However, after a careful examination of its narrative structure, the paper suggests that her tragedy to a large extent is merely a projection of the elite's imagination regarding the working class, making it a biased and partial representation of the fortune of this unfortunate group in general and the female workers in particular. Furthermore, this narrative bypasses the really deplorable aspects of underprivileged people in contemporary China. Essentially, then, the plotline merely makes "fate" and the woman's capricious character to be the scapegoats, but avoids exploring the neoliberal reform agenda which is the true cause of the tragedies of (female) workers, in which the protagonist's own story is but a minor one. From this perspective, the movie is anti-feminist in its core under the surface of a pro-female stance. The merits and faults of the movie provide an inspiring lesson for future feminist interventions.
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