1,412 research outputs found
Samuel Oshimi-John
No full textabstract: Samuel was nine years old when he left his village because of the fighting and bombing around his village.
“Lost Boys Found” is an ongoing, interdisciplinary project that is collecting, recording and archiving the oral histories of the Lost Boys/Girls of Sudan. The collection is a work-in-progress, seeking to record the oral history of as many Lost Boys/Girls as are willing, and will be used in a future book.Age: 30Region: Upper NileThis picture and bio was donated to the "Lost Boys Found" oral history project from The Arizona Lost Boys Cente
Inscription in Nova Solyma, the ideal city; or, Jerusalem regained; an anonymous romance written in the time of Charles I
No full textProbable editor's gift inscription, "Jacobo Hiltonio Amico Suo Amicissimo D. D. D Libri hujus Editor et Interpres. W. B. A.D. CMMII".Nova Solyma, the ideal city; or, Jerusalem regained; an anonymous romance written in the time of Charles I. Now first drawn from obscurity, and attributed to the illustrious John Milton. With introduction, translation, literary essays and a bibliography by the Rev. Walter Begley.
Begley, Walter, 1845-1905, ed. and tr.
Gott, Samuel, 1613-1671, supposed author.
Milton, John, 1608-1674, supposed author
Writing and the rights of reality: usurpation and potentiality in Derrida, Plato, Nietzsche, and Beckett
No full textThe thesis critically evaluates Jacques Derrida's conferral of the rights of reality on writing, focussing on his theory of an arche-text in light of the speculative nature of this theory. The theory is initially considered in the context of Derrida's elucidation of the usurpatory status of writing within the Platonic and Nietzschean texts. This consideration reveals an admission of writing's usurpatory status by both writers while at the same time demonstrating their awareness of the intrinsically speculative nature of this view, the significance of writing lying in its ability to exteriorise the radically indeterminate status of consciousness m relation to reality rather than its ability to displace consciousness or reality The analyses, therefore, not only bring the Derridean hypothesis of a repressive or phonocentric metaphysical episteme into question but also exhibit the historical and philosophical role of potentiality in relation to writing, writing's ultimate significance lying in its capacity to exteriorise our existence as a mode of potentiality. Accordingly, in the second half of the thesis the Derridean theory of writing is countered with a specifically Aristotelian theory of the text as it is exhibited in the prose of Samuel Beckett, an author whose significance lies in his close alignment with Derridean theory within contemporary criticism. It is demonstrated that this identification has obviated an awareness of the significance of potentiality within the Beckettian text, his work consequently being appraised in the previously neglected context of Aristotelian metaphysics
Correspondence between William H. Samuel Jr. and John Lewis, 1971
No full textCorrespondence between John Lewis and William H. Samuel about the Louisiana Voter Education Project Summer Intern Program. Included is a summary of the summer program, general statistics for VEP projects in Louisiana, and a description of summer program participants
Richardson, Barbauld, and the construction of an early modern fan club
No full textMPhilMuch has been written about the life and long works of the eighteenth century epistolary novelist, Samuel Richardson, but the prospect of his position as the first celebrity novelist – responsible for courting his own fame as well as initiating his own fan club – has largely been ignored. The body of manuscripts housed at the National Art Library in the Victoria and Albert Museum in London provides the modern scholar with evidence of the skeletal beginnings of an early fan club. This thesis aims to show how these manuscripts were turned into a saleable commodity by the publisher and entrepreneur Richard Phillips, while under the guiding hand of another, slightly later, literary celebrity, Anna Laetitia Barbauld. In order to restore Richardson’s reputation amongst a new nineteenth century audience, Barbauld was required to construct her own idea of him as an eighteenth century celebrity author, and in doing so the insecurities of a self-professed, apparently diffident man, are revealed. Barbauld’s capacious, but heavily edited selection of letters is analyzed in this thesis, providing ample evidence that Richardson’s correspondents were more than just eager letter writers. By using Barbauld’s biography of Richardson this thesis aims to show how she manipulates the genre of life writing in her construction of him.
This thesis offers an alternative reading of how the Richardson manuscripts are viewed, redefining them as not simply a collection of letters, but as a collective entity, deliberately selected and archived as evidence of an early modern fan club, and its celebrity managing director
Ohio impromptu, genre and Beckett on film
No full textSamuel Beckett’s choice of the title Ohio Impromptu to name the play first performed to an audience of academics and scholars at Columbus Ohio in 1981 is one manifestation of its author’s interest in the question of literary genre; more generally, in Beckett’s dramatic works one encounters a meticulous attention to the activity of categorisation, even if the energy is often directed toward the creation of phantom genres for spectral exemplars. This essay concerns itself with Ohio Impromptu in particular because by means of elements specific to this play (including the context in which it was first performed) it comments upon its own very failure to occupy its designated genre co-ordinates (these include its identity both as a play and as an ‘impromptu’). This play, which is so apt to incorporate other genres, however, is presided over by a stage direction which locates it firmly in the theatrical context. It is in its deliberate failure to attend to this stage direction that the Beckett on Film version of the play goes beyond the mere treacherous fidelity that is inevitably a feature of any adaptation. In arguing this, the essay analyses the foregrounding in the play of questions that can be said to pertain to genre (in several senses). Its more specific intention is to suggest that, via a combination of casting and special effects, the adaptation succeeds not only in cancelling the critical reflection on the ‘genre gesture’ that is lodged in Ohio Impromptu, but also in eradicating the very disjunction between Reader and Listener upon which the play depends
Samuel Beckett and the Writers of Port-Royal
No full textIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
Recall this Book 7: A Conversation with Samuel Delany
No full textFresh on the heels of our conversation with Madeline Miller, author of Circe, John Plotz has a talk with Samuel Delany, living legend of science fiction and fantasy. You probably know him best for breakthrough novels like Dhalgren and Trouble on Triton, which went beyond "New Wave" SF to introduce an intense and utterly idiosyncratic form of theory-rich and avant-garde stylistics to the genre. Reading him means leaving Earth, but also returning to the heady days when Greenwich Village was as caught up in the arrival of Levi-Strauss and Derrida to America as it was in a gender and sexuality revolution. RTB loves him especially for his mind-bending Neveryon series: did you know that many consider his 1984 novella from that series, The Tale of Plagues and Carnivals, (set both inside the world of Neveryon and along Bleecker Street in NY) the first piece of fiction about AIDS in America? He came to Wellesley's Newhouse Center for the Humanities to talk about Afrofuturism, but also carved out two little chunks of time for this conversation
My Schools and My Scholars
No full textArticle reminiscing upon the author\u27s work in at Canandaigua Academy. Includes John Reading\u27s poem Dulce Domum and its translation by Mr. Stevenson, Home, Sweet Home, plus tributes (prose and a latin poem) to Mr. Ezekiel Cheever, along with correspondence quotes from pupils and their parents
Correspondence, Samuel Earle to Richard Parker, December 19, 1887
No full textA letter to Richard Parker from Samuel Earle regarding the death of Parker's wife. 3 pages
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