1,720,964 research outputs found
Pioneers of “Dawnism ” in Victorian Desert
No full textArnold more than any other Victorian writer sums up for the reader the most typical qualities of the age. He shows the movement of thought in man in relation to the age. Arnold depicts the intellectual, cultural, religious and literary confusion of the age and calls it the “darkling plain. Throughout Arnold’s poetic career he tries to connect internal integrity with the social lives of men who are alone in an alien world. “The Scholar Gipsy ” brings a sense of contemplation back to the frozen minds of the Victorian Utilitarianism. Although the images of hopes in “The Scholar Gipsy ” done by the visionary quest and the Tyrian Trader put an end to the life-long doubt-stricken Victorian men, they are only the demonstrations without any palpable, real application in the wasteland of the age. Sohrab in Sohrab and Rustum is a servant of God who struggles to enter the territory of his father. It is his own lost origin to which he enters and consequently finds peace and joins the ‘All. ’ Here, Sohrab is the son who is under the ageis of Thomas Arnold, the father, a triumphant practical spirit guiding the inhabitants of the darkness to the light. If “The Scholar Gipsy ” is the renovation of man’s spirit from the uncertainty through the suggestion of a vision, and a ‘beacon of hope. ’ Sohrab and Rustum is Arnold’s achieved vision and the real capture of the genuine self through the open involvement of the committed traveller in the way of perfection
Nationalism in James Joyce's Ulysses
No full textIn the present article, the role of nationalism and postcolonialism in James Joyce's Ulysses is explored. The novel is used to reveal the political and postcolonial layers of Joyce's work and represent how colonization works through politics. This helps the readers to realize more about political Joyce and to apprehend his political views as a fresh reading of his oeuvre. The significance of this article is to depict how an author from a colonized society is influenced by the colonizing forces and cultural invasions and to scrutinize the very psychology of a colonized nation. This task is done through Attridge and Howes's methodology as the theoretical framework containing key roles in analyzing the main discussion. Through analyzing Ulysses, this article clearly shows that Joyce was a part of nationalistic movements such as the Irish Revival; however he had major conflicts with some individuals and movements that claimed to be nationalists. Therefore, Joyce is concluded to be a 'semicolonial' writer who has his own specific mode of nationalism
Othering Beings and Being’s Other: A Comparative Study of Shakespeare’s Hamlet and Sarah Kane’s 4.48 Psychosis in Terms of Levinasian Ethical Self
Full text linkThe renaissance and the postmodern era provide two interesting periods for discussion. The renaissance can be viewed as the early modern period prefiguring the contemporary world. Thus, the two aforesaid periods can be connected to one another. This comparative study discusses two works: one from the early modern period and the other from the postmodern world. Shakespeare’s Hamlet (1603) and Sarah Kane’s 4.48 Psychosis (2000) provide the material for a discussion on the treatment of the Other as conceived by the philosophy of Levinas in his Otherwise than Being or Beyond Essence (1978). In the spirit of brevity, the central events of the plays and the most suggestive dialogue are discussed. One of the most pertinent concepts in Levinas’ ideology is responsibility which is required for the transcendence leading to subjectivity. It is concluded that while in Shakespeare the unethical mostly die, thus ending their torment, the fate that awaits Kane’s characters is much more dire; they are left battered and bruised, corporeal shells of Beings, paralyzed in time and unable to transcend Being towards the Other. As such, it is seen that the postmodern treats unethical Beings much harsher compared to the early modern
A Postcolonial Reading of Jamaica Kincaid's The Autobiography Of My Mother
No full textCaribbean literature exposes a history of dispossession, exploitation and oppression which has been neglected and often deliberately misinterpreted. In this article the destructive effects of colonization and slavery in Jamaica Kincaid's 1996 novel The Autobiography of My Mother are scrutinized thoroughly. The main objective of this research is to examine Kincaid's novel within the framework of postcolonial studies, in the light of Albert Memmi (2013) and Frantz Fanon's (2008) theories on the psychology of colonialism. Frantz Fanon argues that colonialism had brought together two opposing social orders doomed to coexist in everlasting tension; the colonizer's and the colonized's; these tensions cause the moral and spiritual deformity of an ideological system based on racism, oppression, and exploitation. In contrast to Fanon, Kincaid regards resistance and liberation in a quite different perspective. Instead of attempting to build a "new woman", Xuela refuses to accept the colonizer's views of those like her that lead to self-destruction and self-hatred. Instead, in order to survive, she confidently chooses self-love, albeit an almost grotesque and obsessive one. Kincaid uses Xuela's relationships with various characters to categorize the social types that Fanon describes in his writings—from Philip and his wife Moira as examples of the deformation of behavior caused by colonial social hierarchies to using mask as a metaphor for her manipulative father's mimicry of the oppressors. This research finds out that colonization and slavery have negative impact on both the colonizer and the colonized
Pragmatic action, imaginative action, annihilating action: the quest for self-realization in three major dramatic phases of the West (Elizabethan Renaissance, European nineteenth century, and the theatre of the absurd)
No full textThis thesis argues that the quest for self-fulfillment is the recurrent motif of the three major dramatic eras of Western tragedy. This theme is a continuous but transforming tradition in which tragic heroes endeavor to approximate a more complete degree of self-realization respectively through outward action, inner imagination and an inaction that is also a reflective struggle to find meaning. Discussions of tragic theatre in the West have generally concentrated on a degenerative process of Western tragedy in terms of progressively atrophied dramatic action and gradual manifestation of passivity, nostalgia and nihilism. This thesis aims to show that, although the major course of transformation is from action to inaction, under the light of the continuous motif of the quest and the degree of success by which the characters approximate the wished-for selffulfillment, Western tragedy is a regression in order to progress. To demonstrate a connection across Western theatrical history, I look in turn at the three major dramatic eras of the Renaissance, the nineteenth century, and twentieth-century existentialist/ absurdist stages. The regressive progress of Western tragedy from the Renaissance active quest to the imaginative quest of the nineteenth-century dramatic characters is demonstrated through Nietzsche’s understanding of Dionysian phenomenal-self forgetfulness, inwardness, suffering and rebirth. Such a progressive course is also evident when the seemingly negative inaction of the Absurd dramatic characters is viewed through the author’s own cultural background, considering the very basic mystic concepts of self-annihilation and self-realization
Regressive Progression: The Quest for Self-Transcendence in Western Tragedy
Full text linkInternational audienc
خود سرگردان در جامعه چندملیتی امریکا: هویت ایلیاتی فلانور افریقایی امریکایی در "درس پیانو" اثر آگوست ویلسون
No full textمهاجران آفریقایی آمریکایی بعنوان مسافران بی وقفه در پی بازیابی خود در جامعه ی وحشیانه و چند ملیتی آمریکا به مثابه شخصیت فلانور ست که خود سرگردانِ جهانی ست در پی یافتن خود. این همان خودی ست که صورت وجودی فرا منطقه ای اش و اعمال دراماتیکش کالبد مناسبی در بافت نمایشی پست مدرن آفریقایی آمریکایی یافته ست.شخصیتهای ویلسون به جهت برخورداری از هویت نمایشیِ در تقابل با غیر خود و بعنوان جوینده ای برای خودِ سرگردانشان میتوانند بهترین نمود فلانور عصر حاضر باشند. این مطالعه با بکارگیری تعاریف و نظریات فلانور از دیدگاه بودلر و بنجامین در صدد نشان دادن شخصیت بوی ویلی بعنوان فلانور آفریقایی آمریکایی در نمایشنامه ی "درس پیانو"(1990) اثر اگوست ویلسون ست. بعلاوه از منظر مفهوم پست مدرن رزیوم برگرفته از "هزار فلاتِ"(1980) دلوز و گتاری، این پژوهش بر آن ست تا نشان دهد چگونه دگرگونی هویتی این شخصیت به سمت فلانورِ آفریقایی آمریکایی میتواند بستر مناسبی برای دیدگاه مستقل دراماتیک و پست مدرن ویلسون به منظور بازنمایی صحیح تاریخ نگاری سیاه پوستان باشد. افزون بر این با درنظر گرفتن تمرکز ویژه ی ویلسون به نقش کلیدی شخصیت به حاشیه رانده شده بوی ویلی بعنوان روح جنگجو درارائه ی راویتی موثق از تاریخ آفریقایی آمریکایی ، این مطالعه نشان خواهد داد چگونه ماهیت چندگانه شخصیت نمایشنامه ویلسون بارزترین نمود گوناگونی ماهیت و دگرگونی مکانی _ زمانی شخصیت فلانور ست
Regressive progression: the quest for self-transcendence in western tragedy
No full textThe quest for a higher self is the recurring motif of the three reformative eras of Western tragedy. This recurring theme is manifest in the Renaissance Elizabethan tragedy, nineteenth century Domestic drama, and the Absurd Theater. Throughout these three dramatic periods, the idea of the quest reveals itself in three different manifestations-action, imagination and inaction. Based on Nietzsche's notion of tragedy and a Dionysian approach of the quest for the "sovereign individual" (Nietzsche, Genealogy (GM)), the process of the quest for the higher self in the three major dramatic periods of Western tragedy reflects a progressive directionality that Nietzsche refers to in terms of a "progressus," a "task" or a "goal" (GM, 2, 2)
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
- …
