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Fumigant toxicity of Orange Oil at Low Concentrations Does Not Effect Mortality of Bean Beetles
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(Ruggedness, Strength, and Magnanimity) 粗犷、力量、气度
Get PDFThis review was written by critic Gao Wei-chuan about Yang Ke-Qin\u27s artwork, specifically her oil paintings. It was published in Wen Yi Bao (Literature and Arts Newspaper). For more on the feature artwork: https://digital.kenyon.edu/zhou/442/. (Nicole Wang \u2726).https://digital.kenyon.edu/zhoudocs/1402/thumbnail.jp
Great Kings of Africa (3/12): Mansa Kankan Mussa
No full textText indicates that the image is of Mansa Kankan Mussa - King of Malli (1312-1337)
No.3 of 12 of the Great Kings of Africa Serieshttps://digital.kenyon.edu/arthistorystudycollection/2680/thumbnail.jp
CONTRAFUEGOS
No full textCONTRAFUEGOS is a full-length book of poetry that explores the use of two images—that of wildfires I experienced living in Quito in 2013, and of the firebreak, or “contrafuegos”—in order to explore memory, loss, family, nationalism, and language. The book begins with my six-month stay living in Ecuador with my uncle and his family at age eleven, and my attempts at assimilation while witnessing fires that enveloped the valley around the city. The second part moves forward about ten years in time, to evolving relationships within my nuclear family throughout my undergraduate years. The third section is a retrospective address to specific people, as well as a deeper dive into my mother’s experiences as a young immigrant to the United States in the seventies. Lastly, the fourth part is a more expansive mediation on the intricacies of living between nationalities and cultures, translation play, and broader hallmarks of cultural Ecuadorianness. While each section is representative of a discrete period of my life, the project remains consistent in its overarching imagery of the “contrafuegos” as a metaphor for boundaries, barriers, and family structure, and through its focus on the dually destructive and life-giving property of fire and burn
Chichikov’s Journeys: Gogol’s Dead Souls and Russian Literature in English, 1854-1967
No full textSince its first appearance in English in 1854, Nikolai Gogol’s novel Мёртвые души (Myortvye dushi) has undergone many retranslations. These range from the literal (Garnett, MacAndrew) to the radically divergent (Guerney, Lach-Szyrma). As one of the first works of 19th-century Russian literature to enter English, Gogol’s novel, better known as Dead Souls, has been present for virtually all major developments in modern Anglo-Russian literary relations: the Crimean War and its influx of Russian translation, the appearance of Fyodor Dostoevsky’s The Brothers Karamazov in 1912, the growth of Soviet-Anglo friendship societies in the 1930s, and the villainization of all things Russian that defined the Cold War. Yet Russian literature in English continues to be constructed primarily by tropes codified by authors like Dostoevsky and Leo Tolstoy. I argue that Gogol’s complexities as an author – his satiric bent, his Ukrainian heritage, and his multilingual narrative voice – have been smoothed over in English translation to create a text that fits within the grim, serious vision of Russian literature established by Dostoevsky and Tolstoy. Using a wide variety of disciplinary lenses, I investigate the history of Dead Souls in English – how it was read, translated, and positioned relative to other English-language and Russian literatures – from the Crimean War to the paperback revolution of the 1960s. In doing so, I present a perspective on Anglo-American translation history that reveals much about how we have read Russia for decades, and how we might continue to read it moving forward
“Living Blood, that the Linen Drinks Up”: Consent and Desire in the Modernist Bedroom
No full textBedrooms in the novels Giovanni’s Room by James Baldwin and Good Morning, Midnight by Jean Rhys are spaces which figure the characters’ desire and consent. Although consent is normatively framed as an articulation of pure and essential desires, it is deeply entangled with gender, race, and property ownership in these novels. The rooms of David’s childhood in Giovanni’s Room engender a terror of the body and flesh, and each room he inhabits thereafter archives and displays his past encounters with domesticity and its perversions. Giovanni’s room is a messy and chaotic space that often hinders the clarity David clings to. While David positions it as a claustrophobic closet, the function of the closet emerges out of a larger cartography of David’s desire, a desire that must always both fear and engulf what is irrational and exterior. The distinctions between the self-knowing mind and the infectious body are produced as a means of preserving David’s subjectivity, and, in turn, Giovanni is fixed by other men in the novel as non-autonomous, though always engaged in a laborious effort to escape this logic and build something new. In Good Morning, Midnight, no sexual encounter can be isolated from the past and from power, giving the novel a temporality of repetition. Rhys’s protagonist, Sasha, faces within each room an inevitability and expectation of what she must always provide, resulting in her conflating her existence in the room to death, for she becomes another repeated furnishing in its grasp. While her assaulter attempts to impose a core sexuality onto both her and her hotel room through his insistence of sex, Sasha ruptures this discourse during her assault by taking hold of the very repetition that threatens to annihilate her, and making the room’s power dynamics the foundation for the discourse of the assault. Ultimately, a new framework for consent is explored in these novels, for they give its language the full gravity of what forms it