60,497 research outputs found
Barth, John and John Hawkes : panel discussion; November 2nd, 1978
No full textContents:
Panel Discussion with John Barth and John Hawkes (part I)
Panel Discussion with John Barth and John Hawkes (part II)Description on cassette : John Hawkes-John Barth - debate/talk
11/2/78; Moderator: Tom LeClair
(app. 64 mins. - two tapes, 2nd tape app. 4 mins. long) Tape No. 1Processing notes from Digital Projects Department: Duplicate recordings digitized and stored on Digital Projects SAN; folder and disc location wav file: 20120420/Disc 6. Folder and disc location for mp3 file: 20120329/Disc 8. File named as "Elliston Lecture 11-02-78 John Hawkes and John Barth Tape 3" and "Elliston Lecture 11-02-78 John Hawkes and John Barth Tape 4". A combined version exists as "Elliston Lecture 11-02-78 John Hawkes and John Barth Tape 5" at the same location on Digital Projects SAN. Combined version is missing brief audio at beginning and end.Digital Projects SAN: Folder and disc location for wav file: 20120420/Disc 5. Folder and disc location for mp3 file: 20120420/Disc 8/4-20-12 mp3
Reading: John Barth
No full textIn this audiovisual recording from Friday, March 21, 1975, as part of the 6th Annual UND Writers Conference: “Spirit of Place,” John Barth lectures on his aesthetics and reads a selection of his published and new fiction. Barth reads excerpts from Bellerophoniad, Perseid, and Letters.
Introduced by Dr. Robert W. Lewis, Department of English
A spectatorial skeptic : an interview with John Barth
No full textBarth John, Le Rebeller Annie. A spectatorial skeptic : an interview with John Barth. In: Caliban, n°12, 1975. Le roman américain contemporain. pp. 93-110
Forming moral community: Christian and ecclesial existence in the theology of Karl Barth 1915-1922
No full textThis thesis is an investigation of Karl Barth's theology in the turbulent and dynamic years of his nascent career: 1915 - 1922, with a special focus on the manner in which he construed Christian and ecclesial existence. The thesis argues that Karl Barth developed his theology with an explicit ecclesial and ethical motive, that is, he developed his theology as a deliberate attempt to shape the ethical life of the church in the context within which he lived and worked. It contends that criticisms suggesting that Barth does not have an ethics are inaccurate assessments of his work, and in fact, that although it is evident that his ethical thought continued to develop throughout his career, major trajectories of Barth's development are present in germinal form even at this early stage.
Following the lead and suggestion of John Webster, the thesis adopts a chronological and exegetical reading of Barth's work from his initial dispute with his liberal heritage circa 1915 until the publication of the second edition of his commentary on Romans. Materials examined from this period include sermons, lectures, book reviews, personal correspondence and biblical commentaries, with particular care being taken to identify the occasion and historical context within which Barth presented his thought. This reading seeks to uncover and present the development, structure, content and logic of Barth's own thought, in hope that the central concerns of this thesis will be validated. Examination of these materials has indeed shown that Barth developed his theology with an ecclesio-ethical motive.
The significance of this thesis is twofold. First, it contributes to broader understanding of Barth's theology both in its early development, and with regard to his ecclesiology and ethics. Second, it provides a significant framework and material for contemporary ecclesial reflection on its own identity and mission
John Barth
No full textJohn Barth visited The College at Brockport in December 1976. He is postmodernist writer of metafictional fiction.Archived web contentSUNY BrockportWriters Forum Author Photo
A Study of characterization and representation in James Joyce's a portrait of the artist as a young man and John barth's lost, in the funhouse
No full textDissetação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoAnálise da caracterização e da representação do artista nos romances A Portrait of the Artist as a Young Man de James Joyce e Lost in the Funhouse de John Barth. A análise destes romances quanto às diferenças existentes no modo de representação do artista, faz com que eles possam ser lidos, respectivamente, como representantes das narrativas modernista e pós-modernista
John Barth: 12-09-1976
No full textBarth talks about three things: the teaching of creative writing, the hero quest theme in his novels, and the forms of fiction writing. He likes creative writing programs, but recognizes that not every writer is suited to them; writers who choose to enter the university have critical as well as creative responsibilities. Barth\u27s earlier interest in the myth-hero has waned. Barth feels that the realist novel has had its day; self-reflexive metafiction isn\u27t necessarily removed from life, but it reminds us of the artifice of the novel.
Work discussed include Floating Opera, End of the Road, Giles Goat Boy, The Sotweed Factor, Chimera, and Lost in the Funhouse. Writers mentioned: J. Dickey, D.H. Lawrence, R. Creeley, E. Cooke, H. Fielding, F. Kafka, S. Bellow, J. Joyce, J. Borges, S. Beckett, and M. Cervantes.https://digitalcommons.brockport.edu/writers_videos/1043/thumbnail.jp
John Barth: 12-09-1976
No full textBarth talks about three things: the teaching of creative writing, the hero quest theme in his novels, and the forms of fiction writing. He likes creative writing programs, but recognizes that not every writer is suited to them; writers who choose to enter the university have critical as well as creative responsibilities. Barth's earlier interest in the myth-hero has waned. Barth feels that the realist novel has had its day; self-reflexive "metafiction" isn't necessarily removed from life, but it reminds us of the artifice of the novel.
Work discussed include Floating Opera, End of the Road, Giles Goat Boy, The Sotweed Factor, Chimera, and Lost in the Funhouse. Writers mentioned: J. Dickey, D.H. Lawrence, R. Creeley, E. Cooke, H. Fielding, F. Kafka, S. Bellow, J. Joyce, J. Borges, S. Beckett, and M. Cervantes.Archived web contentSUNY BrockportWriters Forum Video
Karl Barth's academic lectures on Ephesians (Göttingen, 1921-1922) : an original translation, annotation, and analysis
No full textThis thesis consists of an original translation, annotation, and analysis of Karl Barth’s Academic lectures on Ephesians, delivered in Göttingen, winter semester, 1921-1922. The translation is composed from a typescript of Barth’s handwritten manuscript, located in the Karl Barth Archives, Basel, and is annotated for scholarly research, including complete bibliographical information on Barth’s sources.
Barth’s exposition is a detailed exegesis of the Greek text of Eph. 1:1-23, comprising 13 lectures, with a summary of Ephesians 2-6 in the final chapter. Materially and formally, the exposition strongly resembles Romans II and Barth’s 1919 sermons on Ephesians, which the study examines. It also exhibits the theological objectivity of the Göttingen period, chiefly because of Barth’s explication of gnosis in Ephesians and his appropriation of Calvin’s theology of the knowledge of God.
Barth made a material discovery in his study of Ephesians that fundamentally shaped his subsequent theology. He observes in
Eph. 1:3-14 a train of thought which witnesses to God’s action to the creature in Christ and the creature’s subsequent movement to God. He concludes that we have come from God, who has chosen us in eternal election, and we are moving toward the glory of God, our divinely appointed goal. The exposition’s central theme is expressed in Barth’s claim that “the knowledge of God is the presupposition” and “the goal” of human existence.
The distinguishing mark of Barth’s theological exegesis is its concreteness, that is, his ability to speak about the text’s contemporary meaning without lapsing into theological abstraction. This concreteness is the consequence of his theological hermeneutic. He describes the interpretive event as a field of action, consisting of the biblical text, the activity of the interpreter, and the divine speech act
John Barth
No full textJohn Barth visited The College at Brockport in December 1976. He is postmodernist writer of metafictional fiction.https://digitalcommons.brockport.edu/writers_photos/1003/thumbnail.jp
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