This essay focuses on the numerous strays, predator species, wild animals, and roadkill that undermine land management in John Steinbeck's The Grapes of Wrath (1939). By putting the novel in ...conversation with mid-twentieth-century animal policy, this essay argues that animal control, as both an aspiration and a set of organized practices, destabilizes human authority over animal bodies at the same time that it commits violence against those bodies. Steinbeck's animals both fall victim to and creatively challenge animal control. Furthermore, when these animals rove in and out of human communities, settlements, and structures with no regard for (or understanding of) private property, they call attention to the inherent limitations of government animal policy. If we pursue the movements of these animals by following their paths and observing the "blots of blood" on the highway, we might discover that our own bodies are just as vulnerable.
Carol Henning Steinbeck, writer John Steinbeck's first wife, was his creative anchor, the inspiration for his great work of the 1930s, culminating in The Grapes of Wrath. Meeting at Lake Tahoe in ...1928, their attachment was immediate, their personalities meshing in creative synergy. Carol was unconventional, artistic, and compelling. In the formative years of Steinbeck's career, living in San Francisco, Pacific Grove, Los Gatos, and Monterey, their Modernist circle included Ed Ricketts, Joseph Campbell, and Lincoln Steffens. In many ways Carol's story is all too familiar: a creative and intelligent woman subsumes her own life and work into that of her husband. Together, they brought forth one of the enduring novels of the 20th century.
A classroom researcher spent a year studying the instruction of a teacher who pairs multimodal texts with Shakespeare to disrupt the canon. The first goal balanced the demands of an advanced English ...curriculum and Common Core State Standards by focusing on dynamic and static characters and the use of textual evidence to develop claims throughout a piece of writing. The second goal also leveraged an important English literacy: recognizing figurative language as an author's rhetorical device. Ms. Selena Hughes designed her instruction to focus on one pattern in Shakespeare's figurative language: how the animal imagery employed throughout Othello removes characters' humanity, becomes a codified way to talk about race, and positions Othello as an "other." In addition, Ms. Hughes extended this pattern to demonstrate how repetitive othering language resulted in Othello's internalization of the racialized othering.
"Pyle and Gilbert engage imaginatively with Malory's material in order to offer the Morte as an example to children," she argues, "specifically boys, by reformulating its martial adventures to ...emphasise a series of social and moral qualities linked to the development of idealized manhood" (57). The third chapter focuses almost exclusively on T. H. White and his The Once and Future King series (1938–41). Since this is one of the better-known children's classics within Arthuriana, it makes sense that McCausland would devote so much time to analyzing White's process of adaptation. (99) Her close examination of White's motivations provides for a fascinating psychological reading of his characters, particularly those such as Lancelot (who tends to display significant identity and emotional issues).
This study aims to identify and compare the strategies applied by native Farsi Translators, Parviz Dariyush (1975) and Soroush Habibi (2009), in rendering the vernacular dialect (Chicano English) of ...John Steinbeck’s Of Mice and Men (1965) as a sociolect into Farsi. One hundred samples which contained seven unique characteristics of vernacular dialect limited to the two main characters of the novel, George and Lennie, were extracted from the novel with their Farsi equivalents. Sienkiewicz (1984, as cited in Berezowski 1997: 35) proposed strategies for the translation of dialects are taken as the model for this study to investigate the way dialectal features are dealt with in the selected parts and to check whether the procedure proposed by Sienkiewicz is sufficient and adequate for their translation. Analysing these samples, the results showed that one-to-one transference of dialectal elements is not practically possible into Farsi. However, both translators used phonological, syntactical, and morphological irregularities of Colloquial Farsi to show that the language of the novel is not standard language. Approximate Variety Substitution is the most frequent strategy used by Habibi and Dariyush. The aim of this strategy is to select a colloquial variety that has some dialectal features such as lexical, phonological, and morphological specifics and at the same time does not present an obvious recognizable TL dialect.
Citizen Steinbeck: Giving Voice to the People provides a wonderful and fascinating overview of the life and literary achievement of John Steinbeck (1902-1968). The Grapes of Wrath (1939), essential ...reading to understand this country, remains a literary classic that reminds us of the damage we can cause the environment and the human consequences that can follow. Ryder W. Miller, dolphin1965@hotmail.com, Freelance environmental and science reporter, New York, NY, USA.
This essay discusses gift-giving and gossiping in a canonical American novel (John Steinbeck’s The Grapes of Wrath, 1939) by way of the two texts which sealed the fate of dominant literary ...scholarship after WWII: Marcel Mauss’s essay The Gift and Claude Lévi-Strauss’s Introduction to the Work of Marcel Mauss. Steinbeck’s use of informal discourse and Marcel Mauss’s descriptions of tacit compulsory reciprocation present the opportunity to dispute central assumptions in literary theory that pertain to literary meaning, interpretation, and referentiality. This essay argues that literary language is conventional precisely because its conventionality fulfills a social function; the conventional nature of literary language is in itself meaningful socially. This, in turn, suggests that the interpretation of literary texts remains dependent on a correct understanding of the material and symbolic economies they participate in.
In the introduction Honeyman outlines some of the issues that arise from migraine studies: the invisibility of migraine, the misrepresentation of migraine and the culture of denial, the complications ...that pain brings to disability debates, the benefits and limitations of the social model of disability, and the difficulty of writing for children when one is no longer a child. In the United States (and in the United Kingdom), school nurses and restrooms have been withdrawn with very real consequences for migraineurs for whom an hour in a restroom may make the difference between completing the school day or going home.1 Migraineurs have a complicated relationship to food: most of us carry lists of food triggers that vary from person to person and that are often central foods in our environment, but most migraineurs are also triggered by a lack of food, which in a food-control culture means that children and teens are in constant emotional and physical conflict with the messages they receive. (Swiss physician Felix Wirtz, who compared the skin of a newborn to the tender skin, which covers an injury, appears to have been a rare exception.) The result was that it was utterly normal to undertake major surgery on babies and small children with sedation but not pain relief; to translate, they were awake, unable to move, and in pain. Honeyman also accuses authors of being far too charmed by the “aura” aspect of migraines, and what we call Alice in Wonderland syndrome (after Lewis Carroll, who appears to have had few migraines but may have been one of the people who only got aura), without realizing either how distressing it may be, or that for migraineurs this is the least important aspect of the disease.
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