1,916 research outputs found
"The Duel" by Samuel C. Edger, 31 March 1832
No full textAn essay, possibly by Samuel C. Edger (or Samuel C. Edgar), relaying the story of a pistol duel in London between "Wilson" and "Trevor." Possibly a school assignment at the American Literary, Scientific and Military Academy (in Norwich, Vermont) or Jefferson College (in Washington, Mississippi), although association with either school is uncertain; dated 31 March 1832.Transcription by Raymond Bouchard. Transcriptions may be subject to error
Writing and the rights of reality: usurpation and potentiality in Derrida, Plato, Nietzsche, and Beckett
Full text linkThe 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 Zelma C. Wyche, William H. Samuel and Vernon Jordan, 1968
No full textCorrespondence from Zelma C. Wyche to William H. Samuel proposing a voter education program to take advantage of a Black majority voting population. William H. Samuel' correspondence to Vernon Jordan endorses the proposal to Vernon Jordan citing an important upcoming election and the fact no Black person had held office at the time of correspondence
A Letter from Samuel B. Schieffelin to A. C. Van Raalte
Full text linkA letter from Samuel B. Schieffelin to A.C.V.R. regarding property matters. Schieffelin seems to have a high regard for Van Raalte. The author also makes some medicinal recommendations for A.C.V.R.\u27s health problems.https://digitalcommons.hope.edu/vrp_1850s/1367/thumbnail.jp
Usability and acceptability of a website that provides tailored advice on falls prevention activities for older people
Full text linkThis article presents the usability and acceptability of a website that provides older people with tailored advice to help motivate them to undertake physical activities that prevent falls. Views on the website from interviews with 16 older people and 26 sheltered housing wardens were analysed thematically. The website was well received with only one usability difficulty with the action plan calendar. The older people selected balance training activities out of interest or enjoyment, and appeared to carefully add them into their current routine. The wardens were motivated to promote the website to their residents, particularly those who owned a computer, had balance problems, or were physically active. However, the participants noted that currently a minority of older people use the Internet. Also, some older people underestimated how much activity was enough to improve balance, and others perceived themselves as too old for the activities
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
Tables of correct and concise logarithms; for numbers, sines, tangents, secants, complements-arithmetical supplements, &c. ...
No full textby Samuel Dun
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
Poética da penúria: a ator beckettiano
Full text linkTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013.O objeto deste estudo é refletir sobre os principais dispositivos da poética beckettiana, os testemunhos de atores históricos que trabalharam sob a direção de Samuel Beckett para propor alguns caminhos de composição de um ator particular, que, com experiências de uma preparação dramatúrgica, condensaria um corpo em penúria. Para isso, investigamos algumas das características da obra beckettiana como a influência minimalista sobre suas peças tardias, a musicalidade que permeia o seu texto teatral e a imobilidade imposta à suas personagens. Mergulhamos no íntimo dessas personagens, com a finalidade de, através do levantamento dos principais traços absorvidos pelo ator beckettiano, estabelecer relações com o ator pós-dramático. A fim de confrontar as referências estudadas, propusemo-nos a encenar o espetáculo Inomináveis # coletivo Beckett, uma reunião das peças Play, Not I, Rough for theatre I e Footfalls. Consideramos e aferimos nossas hipóteses através de depoimentos cedidos pelos atores envolvidos em nossa encenação This work aims to study the most important tools of Samuel Beckett#s art, the testimony of historical actors who worked under his direction to propose possible ways of formation a particular actor that would condensate a body in a state of penury using experiences from dramaturgical preparation. We observed some characteristics of Beckett#s work as an influence of the Minimalism in his last plays, the musicality in his theatrical texts and the immobility of his characters. We studied the characters in depth to clear relations with the post-dramatic actors by mean of recognizing the most important features of actors involved with Samuel Beckett. In order to confront our references, we put forward a staging: Inomináveis # coletivo Beckett, a sequence of Play, Not I, Rough for theatre I and Footfalls. We investigated and assessed our hypotheses using testimonies of the actors involved in our staging
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The Nature and Function of the Samuel Conclusion: 2 Samuel 21–24 as Mise en Abyme
No full textIn this study, I undertake an analysis of the final four chapters of the book of Samuel (i.e., 2 Sam 21–24). I propose that the six sections that comprise 2 Samuel 21–24 serve as a mise en abyme, a miniature replica of the book of Samuel, which reflects the major themes of the book. This reflection offers, at the same time, both a theological distillation of the work as a whole and an interpretative lens through which to understand the preceding narrative. It is established through strategic use of inner-Biblical allusion and analogical correspondence whereby the various episodes of the conclusion are designed to resemble specific sections of the book while their sequence mirrors the story’s progression. After analyzing its function as the conclusion to the work, I make the case that the addition of 2 Samuel 21–24 occurred at a single point in time at a final stage of the composition of the book (during the post-exilic period). I argue that the author/editor used available literary and historical sources to fashion his six-part conclusion, but that the narratives on the outer boundaries were likely composed, or (at least) heavily reworked, by the author himself.
I begin the study with an introduction that provides an overview of issues relating to 2 Samuel 21–24 and my proposal. The first main chapter offers a survey of the history of interpretation of 2 Samuel 21–24 from the 1800’s to the present. This is followed by a chapter which discusses the theory behind particular literary devices which are relevant to my thesis. These devices include allusion, intertextuality, narrative analogy, and mise en abyme. This discussion forms the foundation for the next chapter, which offers an analysis of how 2 Samuel 21–24 serves as a mise en abyme of the book of Samuel as a whole. In the final chapter (before the conclusion), I engage with this material from a diachronic perspective, offering some suggestions with regard to the date and situation of its composition
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