822 research outputs found
[Review of] Tolkien Studies: An Annual Scholarly Review, Volume XIII; North Wind: A Journal of George MacDonald Studies, No. 35; VII: Journal of the Marion E. Wade Center, Volume 33
No full textAccumulation of knowledge: the education of African Americans in southern New Jersey from 1920-1945
No full textResearch Question: What individuals, institutions and organizations were instrumental in the development of the educational philosophy for African Americans in Southern New Jersey from 1920-1945? Methodology: This dissertation employed oral history in the qualitative tradition using video recording equipment. Data were gathered from twelve participants representing nine family groups and four southern New Jersey Counties. The data were coded and analyzed to determine common and distinct themes which influenced the participants’ individual and collective educational experiences. Findings: South Jersey, bordering Delaware, Maryland and Virginia inherited racial attitudes from their southern neighbors. These southern ideologies were reflected in the types of schools available to black children during that era. The findings were as follows. 1. The participants all attended public schools in South Jersey. The grammar schools were segregated; and those who attended high school attended integrated schools or The Manual Training and Industrial School for Colored Youth at Bordentown. 2. The participants’ parents who had greater socio-economic status than their peers and/or had cultural and social capital were able to orchestrate their children’s education. These parents chose an educational path for their children that included college attendance or attending the manual training school in Bordentown. Parents with capital were able to lay a foundation for success in an era that segregated and discriminated against blacks. 3. The participants, through their lenses as students, were very vocal and exacting about describing their studies, teachers, and events that occurred in the segregated schools, but were very reluctant to describe their high school experiences. Significance: Black parents who held greater socio-economic status than their peers, and possessed cultural and social capital had great influence over their children’s education. They chose schools that provided their children with a trade or profession.Ed.D.Includes bibliographical referencesby Janet E. Alle
Managing open access (OA) workflows at the University of St Andrews: challenges and Pathfinder solutions
No full text© 2014. Janet Aucock. This is an open access article distributed under the Creative Commons Attribution Licence, which permits unrestricted use and distribution provided the original author and source are credited.This article arose out of a presentation given to the UKSG seminar on ‘Managing Open Access: pain points and workflows’. It presents a case study on the workflows in place at the University of St Andrews and how these are developing to meet funder compliance policies and the challenge of the new HEFCE Research Excellence Framework (REF) open access (OA) policy. The case study describes the research environment at St Andrews and in particular the challenges faced and how these may be answered. Since the seminar in May 2014, the Open Access Research Publications Support Team has engaged in a ‘Lean’ exercise to evaluate and streamline workflows within the institution. St Andrews is also now a partner in the LOCH project, one of the Jisc Pathfinder projects. The paper gives an update on recent activities and looks at strategies and practical ideas for improving workflows and removing pain points.Publisher PD
Janet, Mafrey, Mable, and Robert Metcalf
No full textThis 1952 photograph taken by photographer Juanita Wilson shows Janet, Mafrey, Mable, and Robert Metcalf of Tennessee receiving trophy from Hubert Hayes in the Mountain Youth Jamboree. Founder and director of the Mountain Youth Jamboree, Hubert H. Hayes (1901-1964) auditioned and directed youth to perform in folk dance, music, and folk and ballad singing. The jamboree was held in the Asheville City Auditorium (now known as Thomas Wolfe Auditorium) from 1948 to 1973, and Hayes’ wife, Leona Trantham Hayes (1913-1989) continued to direct the program after his death in 1964. Hubert Hayes was an author, playwright, and alumni of Duke University
Joan McKinney, Janet McKinney, and Joan Bailey
No full textThis 1964 photograph taken by photographer Juanita Wilson shows Joan and Janet McKinney and Joan Bailey of Mars Hill singing in the Mountain Youth Jamboree. Founder and director of the Mountain Youth Jamboree, Hubert H. Hayes (1901-1964) auditioned and directed youth to perform in folk dance, music, and folk and ballad singing. The jamboree was held in the Asheville City Auditorium (now known as Thomas Wolfe Auditorium) from 1948 to 1973, and Hayes’ wife, Leona Trantham Hayes (1913-1989) continued to direct the program after his death in 1964. Hubert Hayes was an author, playwright, and alumni of Duke University
El pájaro de fuego ruso. Historias. Revista de la Dirección de Estudios Históricos Num. 71 (2008) septiembre-diciembre
No full textEste escrito se publicó originalmente en The New Yorker el 5 de enero de 1935 y fue seleccionado para integrar la primera antología de esta revista, que salió en Inglaterra bajo el título Profiles (Penguin). Su autora, Janet Flanner (1892-1978), entre 1925 y 1971 fue corresponsal en París de esa revista que dirigía Harold Ross; escribió narrativa (The Cubical City, 1926), tradujo a Colette (Chéri, 1929) y realizó otras actividades literarias. Su columna “Letter from Paris” fue uno de los rincones más buscados en The New Yorker. Lo mismo, más adelante, su sección “Paris Journal”. Flanner antologó sus envíos en dos títulos: An American in Paris. Profile of an Interlude Between Two Wars (Simon and Schuster, 1940) y Men and Monuments (Harper, 1957). De la sección que armó como un diario de París, William Shawn formó otros dos volúmenes de Flanner: Paris Journal, 1944-1965 (Atheneum, 1965) y Paris Journal, 1965-1971 (Atheneum, 1971). Por otra parte, Irving Drutman fue sobre los primeros envíos de Flanner, espigó las que le parecieron las cartas de mayor interés y las reunió bajo el título Paris Was Yesterday, 1925-1939 (Viking Press, 1972 ), traducido por Marcelo Covián para Grijalbo (1974). El mismo Drutman integró otro volumen: Janet Flanner’s World. Uncollected Writings, 1932-1975 (Harcourt Brace Jovanovich, 1979)
The Unharnessed World: Janet Frame and Buddhist Thought
No full textThough New Zealand author Janet Frame (1924-2004) lived at a time of growing dissatisfaction with purely Western (i.e. European) cultural models, her work has so far never been examined from the vantage point of its indebtedness to Eastern epistemologies, and to Buddhism in particular. Even though it is possible to establish links between an author and a given system of thought (Heidegger’s for instance) without necessarily buttressing the comparison from a factual perspective, in this case, the author’s (auto-)biography, her fiction and letters, as well as the circles of Buddhists or Buddhist-sympathizers in which she evolved at a given time, all testify to the fact that a direct encounter between Janet Frame and Buddhism did occur. It can thus be affirmed that, just like W.B. Yeats, C.G. Jung, Heidegger and many others before her, one of the most striking personalities of the 20th century was drawn eastward.
The relevance of this study to Janet Frame scholarship resides not only in its politicized angle of approach but also, more importantly, in the fresh light it sheds on entire segments of the Framean corpus which have tended to remain obdurately mysterious; this includes passages centering on e.g. the existence of a non-dual world, a reality un-harnessed by the partial categories of empirical thinking, on a character’s sudden embrace of a non-ego-like self, or on the jolting back of distracted individuals into an awareness of their physical reality in ‘this’ profane world. On the whole, and despite this apparent profusion of themes, my concern is to show that these obscure passages, as well as many other key moments in the narratives, all coalesce into a systematic deconstruction of empirical thinking and its point of anchorage in a discriminating kind of consciousness, both notions forming excellent points of entry into virtually all the texts produced by Frame. Through a careful mapping of the impact of discriminating habits of thought on the self’s place of being in the world and perception thereof, this work clarifies, or rather reconstructs, the narratological architecture of the studied texts – especially the novels – quite apart from the somewhat restrictive view, held in some circles of literary criticism, that they are mazes of random turnabouts and dead-ends where narrotological playfulness is valorized for its own sake. To provide just one example of how a study of Janet Frame via Buddhist thought facilitates the navigation of the author’s intricate novels, the idea in Buddhism that the artist is the bow that shoots the arrows, but then s/he is the target also, is a useful starting point for analyzing the seminal “Jan Godrey” (one of Frame’s best known short stories) in which a terrified author-figure finally allows her creature of words, described as an alien inside, to take full control of the speaking position. A contrario, Thora Pattern’s willingness in The Edge of the Alphabet to trap her creation within neat academic cages of words (as she calls them) spawns images of a hellish self-scape of containment which translate in an endless regression of framed frames since her attitude is paralleled by some of her own creatures of words and by the Christian God Himself – each at his or her level of being and of influence. But that is not all for, in a last turn of the screw, and pace the critics who diminish their roles in the narrative, Thora’s characters rebel against their creator, and they succeed in jamming her creative incarcerating mechanisms so that, by the end of the novel, the author-figure is no longer able to exist without the not-self. This dialectics of un/framing, in which a discriminating consciousness battles against the invading otherness of the non-dual, unharnessed world in all its manifestations, is one which typically informs the Framean corpus although, of course, the architecture of enactments it gives birth to is as varied as it is unpredictable.
The idea, which Frame shares with Buddhism or with Nietzsche (who, incidentally, owes an intellectual debt to Buddhism), that most of the human existence is characterized by the “will to power,” i.e. by the drive to take full possession of one’s chosen place of being, is rather unflattering for her fellow human beings. In another sense, the author’s conception of our (in-)humanity as being made up of an accretion of egotistic habits that can be unlearned certainly explains why, in her oeuvre, a liberation from totalizing structures demands an encounter with the negative of place, of identity, of vision, of sound, of fullness, of shape, of well-worn mind-routes and, as we saw in the last chapter, with the negation of negation. Often, it takes no less than a rebellion of the supposedly harnessed reality to disorient a protagonist’s dualistic bearings or to jam an artist’s incarcerating mechanisms; and this, in part, accounts for the extreme physicality encoded in a fiction replete with moments of thumping or bashing – indeed with the promise of a cut finger. Still pondering the centrality of ‘unframed’ or ‘ego-less’ modes of being, each of the nine chapters that constitute this work aims at countering the oft-recurring claim that Frame’s oeuvre is studded with traces of a ‘beyond’ which no character can ever approach because ‘one cannot explore beyond’. By this definition, each of the questing selves that clutters the author’s haunting universe is condemned to failure beforehand, as it were, while concomitantly the Framean text itself is deemed to be bleak, defeatist, even nihilistic. Therefore, it is of the utmost significance that a Buddhist navigation of Frame’s texts should lead one to the conclusion that this unharnessed world which human beings are often unable to apprehend and embrace has always been right under their nose so that, between ‘this’ world of limited perceptions and ‘that’ world of the beyond, the boundary is as thick or as thin as the walls of a self-made conceptual prison. Indeed, whenever the aspect of the intellect that filters perceptions into mutually excluding categories fails to function, or is willingly jettisoned by a protagonist, s/he finds a place of subjective arrival in, and sees, this supposedly unknowable ‘beyond’. Thus, possibly against the grain of mainstream criticism, this study argues that Janet Frame constantly seeks ways through which the infinite and the Other can be approached, though not corrupted, by the perceiving self, and that she found in the Buddhist epistemology a pathway towards grasping such alterity.Bien que l’écrivain Néo-Zélandais Janet Frame (1924-2004) ait vécu à une époque d’insatisfaction grandissante à l’encontre des modèles culturels purement occidentaux (c.-à-d. européens), son œuvre n’a jusqu'à ce jour jamais été examinée du point de vue de sa proximité aux épistémologies orientales, et au bouddhisme en particulier. Alors qu’il est possible d’argumenter une comparaison entre un auteur et un système de pensée (celle d’Heidegger par exemple) sans que les liens ne soient avérés d’un point de vue factuel, dans le cas qui nous intéresse, l’(auto)biographie de l’auteur, sa fiction et ses lettres, ainsi que les cercles de bouddhistes ou de sympathisants bouddhistes dans lesquels elle évolua à une certaine époque, attestent du fait qu’un contact direct entre Janet Frame et le bouddhisme eut lieu. Il est par conséquent certain que, tout comme W.B. Yeats, C.G. Jung, Heidegger, et d’autres encore, l’une des personnalités les plus marquantes du 20ième siècle a été attirée par l’Orient.
La pertinence de ce travail pour les études framéennes réside donc dans son angle d’approche politisé mais plus encore dans l’éclairage novateur qu’il porte sur ces segments entiers de l’œuvre de Janet Frame qui tendent à demeurer résolument mystérieux, entre autres des passages se focalisant sur l’existence d’un monde « non-dual », « non-harnaché » par les catégories partiales de la pensée empirique, ou encore sur l’adoption soudaine par un protagoniste d’un « soi » au-delà de l’égo, sur la re-sensibilisation fracassante des consciences distraites à leur réalité physique dans ce monde profane. De manière générale, et ce malgré l’apparente profusion de thématiques, mon souci est de montrer que ces passages obscurs, de même que nombre d’autres moments clés des narrations, tous convergent en une déconstruction systématique de la pensée empirique et de son siège en la conscience discriminante, les deux notions formant d’excellents points d’entrée vers virtuellement tous les textes produits par Frame.
Au travers d’une cartographie consciencieuse de l’impact des habitudes de pensée discriminatoire sur la place de l’être dans le monde et sur sa perception de celui-ci, ce travail clarifie, ou plutôt reconstruit, l’architecture narrative des textes étudiés, particulièrement les romans, à l’écart de l’avis soutenu dans certains cercles littéraires qu’ils sont dédales aléatoires d’impasses et de tournants où le jeu narratologique est valorisé en soi. Pour donner un exemple de la manière dont une étude de Janet Frame par la pensée bouddhiste facilite la navigation des romans complexes de l’auteur, l’idée dans le bouddhisme que l’artiste est un arc pour les flèches de la création et en est la cible également est un point de départ utile pour l’analyse de la séminale « Jan Godfrey » (une des nouvelles les plus connues de Frame) dans laquelle un personnage-auteur apeuré autorise finalement sa créature de mots à prendre le contrôle absolu de la position de parole. A contrario, la propension de Thora Pattern dans The Edge of the Alphabet à capturer sa création dans des cages de mots académiques bien nettes (comme elle les appelle) évoque, image sur image, un infernal paysage intérieur de confinement qui se traduit en une régression infinie de cadres encadrés, puisque l’attitude de Thora suit une trajectoire semblable à celle de certaines de ses créatures de mots et du Dieu chrétien lui-même, chacun dans sa propre sphère d’être et d’influence. Ceci n’est pas tout car, au dernier moment, et ce malgré la tendance des critiques à diminuer leurs rôle dans la narration, les personnages de Thora se rebellent contre leur créateur, et ils réussissent à enrayer ses mécanismes d’incarcération créative si bien que, à la fin du roman, elle cesse de pouvoir exister à distance du « non-soi ». La dialectique de dés-incarcération, en vertu de laquelle une conscience discriminante lutte contre les multiples manifestations de cet envahissant autre qu’est le monde non-dual, imprègne typiquement le corpus framéen quoique, bien entendu, l’architecture ainsi engendrée est aussi variée qu’imprévisible.
L’idée de Frame, qu’elle partage avec le bouddhisme et avec Nietzsche (qui, soit dit en passant, a une dette intellectuelle envers le bouddhisme), selon laquelle l’existence humaine se caractérise par un désir de pouvoir, par une volonté d’assumer l’entière possession d’une place d’être soigneusement choisie, est peu flatteuse. D’un autre côté, la conception qu’a l’auteur que notre (in-)humanité est faite d’une accrétion d’habitudes égotiques qui peuvent être désapprises explique certainement pourquoi, dans son œuvre, une libération des structures totalisantes demande une rencontre avec le négatif du lieu d’être, de l’identité, de la vision, du son, de la plénitude, de la forme, de toutes les routes usées de la pensée et, enfin, de la négation de la négation. Souvent, donc, il ne faut pas moins qu’une rébellion de la réalité supposée enchaînée (par l’esprit empirique) pour confondre l’orientation dualiste d’un protagoniste ou pour enrayer les mécanismes d’incarcération d’un artiste, et ceci explique en partie la physicalité extrême qui est encodée dans une fiction repue de raclées et autres corrections, et même d’une promesse d’un doigt coupé.
Toujours en considérant la centralité des modes d’êtres « déharnachés » au-delà de l’ego, chacun des neuf chapitres qui constituent ce travail tentera de contrer l’assertion bien répandue dans la critique que l’œuvre de Frame est saturée de signes d’un monde supérieur qu’aucun protagoniste ne peut jamais approcher car « on ne peut explorer au-delà ». Selon cette définition, les êtres en quête d’un meilleur et qui peuplent l’univers étrange de l’auteur sont condamnés, pour ainsi dire, par avance à l’échec pendant que, de manière concomitante, le texte framéen est lui targué de sombre, de défaitiste et même de nihiliste. Par conséquent, il est plus que significatif qu’une navigation bouddhiste des textes de Frame conduise à la conclusion que ce monde non harnaché par la pensée cartésienne que l’homme peut si difficilement appréhender est, en fait, juste sous son nez, si bien qu’entre ce monde-ci des perceptions limitées et le monde au-delà, la frontière est aussi fine, ou épaisse, que les murs d’une prison conceptuelle. En effet, dès que l’aspect de l’intellect qui filtre les perceptions en autant de catégories exclusives oublie de fonctionner, ou est sciemment rejeté par un protagoniste, il ou elle trouve enfin un authentique lieu d’être et il ou elle voit ce soi-disant inconnaissable au-delà. Donc, possiblement à contre courant de la critique dominante, cette étude argumente que Janet Frame cherche inlassablement comment l’infini et l’autre peuvent être appréhendés, mais non corrompus, et qu’elle a trouvé, au travers de l’épistémologie bouddhiste, un chemin vers cette altérité
PRESENTASI MASKULINITAS TOKOH DALAM NOVEL BEKISAR MERAH KARYA AHMAD TOHARI: ANALISIS TEORI JANET SALTZMAN CHAFETZ
No full textDiscourse of masculinity is a discussion that is widely presented in literary works. Although not expressed directly, forms of masculinity appear in line with the process of telling the behavior of existing male characters. Bekisar Merah is a novel by Ahmad Tohari which represents masculinity through various male characters. Each character has a different background, giving rise to different thoughts and actions. The concept of masculinity according to Janet Saltzman Chafetz can be seen from the male aspects in the form of (1) physical aspects; (2) functional aspects; (3) sexual aspect; (4) emotional aspects; (5) intellectual aspects; (6) interpersonal aspects. This study aims to describe the form of presentation of masculinity and its causative factors in Ahmad Tohari's Novel Bekisar Merah according to Janet Saltzman Chafetz's theory. The source of the data in this research is the document of the novel Bekisar Merah by Ahmad Tohari. The data collection technique used in this study was document analysis using the look-and-note method, in which the author first reads the contents of the novel carefully, then records any important findings. Then the validity of the data was tested by theoretical triangulation to check its suitability with Janet Saltzman Chafetz's theory of masculinity. The results of this study found that there were 47 data presenting six aspects of Janet Saltzman Chafetz's masculinity in Ahmad Tohari's novel Bekisar Merah.
 
My Place. Luoghi, viaggi, identità nei romanzi di Janet Frame
No full textIl lavoro si propone un’analisi dell’elemento spaziale e del movimento per ricostruire lo spazio della cultura neozelandese e lo spazio letterario di Janet Frame. La tesi si concentra in particolar modo sui romanzi con alcune incursioni nella fiction breve e nell’autobiografia. Si sviluppa in quattro capitoli nella forma di un itinerario attraverso la fiction dell'autrice preceduto da un capitolo che offre alcune coordinate teoriche e metodologiche sul concetto di spazio e la sua percezione. In particolare, una prospettiva fenomenologica e esistenziale alla questione appare congeniale all'analisi delle opere dell'autrice.
Nell'ordine, quattro spazi concettuali si aprono a partire dai romanzi: linguaggio, etica, trascendenza e arte. Essi costituiscono i nuclei tematici e strutturali attorno ai quali si raccolgono i romanzi di Janet Frame e che consentono di analizzare i luoghi descritti nelle opere proponendo però una riflessione che va oltre la rappresentazione dello spazio per aprirsi sul retroterra culturale, intellettuale e filosofico dell'autrice. Emerge così l'originalità della sua posizione rispetto all'identità culturale del suo paese e alla relazioni che legano la Nuova Zelanda alla metropoli inglese e agli altri Paesi anglosassoni.The thesis is an analysis of the concept of space and its representations in the novels of Janet Frame. Geography, movements, travels, places and dwellings are the basic elements that are examined in order to reveal the cultural and philosophical background of the author. In this perspective, both as an intellectual and as a fiction writer, Frame reveals her extremely original position in relation to some crucial issues such as New Zealand identity and the cross-cultural ties between the English-speaking countries
Patrick Traer, Janet Werner : Trance
No full textIn this catalogue to accompany an exhibition of works by two Saskatoon-based artists, Baerwaldt suggests Werner’s portraits and Traer’s video installations converge on a conceptual level. The author draws attention to how their works evoke a state of trance, highlighting the emotional and psychological aspects of Werner’s paintings and issues of lust/despair in Traer’s mixed media pieces. D. Ring suggests that the artists explore concepts of “the real” and “identity” by creating works which evoke a trance-like form of vision. Biographical notes. 3 bibl. ref
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