381 research outputs found
IBPP Research Associates: Namibia
No full textThis article was posted on the February 9, 2003 issue of The Namibian by Willy Amutenya. The author discusses the escalation of tribalism and racism in Namibia.
Copyright permission for the article were not available, and it is not in Scholarly Commons for download
All Personality is Performance
No full textAdapted for the stage for the first time, The Driver’s Seat is one of renowned novelist Muriel Spark’s most gripping and disturbing books.
At the centre of this taut, darkly comic thriller is Lise, an enigmatic young woman who is compelled to travel alone to an unnamed city.
Professor Willy Maley, English Literature, University of Glasgow considers the author and protagonist of The Driver’s Seat: a “study of self-destruction”
THE INFLUENCE OF AMERICAN DREAM TO THE CHARACTERIZATION OF WILLY LOMAN’S IN ARTHUR MILLER’S NOVEL
No full textThis research aims at describing the influence of American Dream on Willy Loman’s characterization as a husband, father, and a salesman. The research applied a library research to collect information about the Death of a Salesman, American Dream and the author, Arthur Miller In doing the analysis, the writer used the structural method and sociological approach. The data were analyzed the characterization of Willy Loman by using structural approach, the writer continued her analysis to find out the influence of American Dream on Willy Loman’s characterizations by using sociological approach. The result of the research shows that WillyLoman’s characterizations are influenced by his ambition to pursue his American Dream. Willy Loman’s dream for being successful salesman and as a father makes him disappointed after he knows that he is fired from Howard’s Company and when he realizes that Biff in 34 years old does not has a proper job with a big salary. The realities make Willy Loman feels that he has failure in his life
Přistěhovalectví v díle Willy Catherové
No full textThe presented bachelor thesis examines the depiction of nature, landscape and the life on the Midwestern prairie in the selected works of Willa Cather. The theoretical part introduces Willa Cather as an author and focuses on terms such as regionalism, local colour, Midwest and immigration. The analytical part of the thesis focuses on the depiction of nature and immigrants in the selected works.Předložená bakalářská práce se zabývá zobrazením krajiny, prostředí a života přistěhovalců na americkém středozápadě ve vybraných dílech Willy Catherové. V teoretické části je představena Willa Catherová společně s pojmy jako jsou regionální literatura, local colour, americký středozápad a imigrace. Praktická část bakalářské práce se bude zabývat analýzou zobrazení krajiny a přistěhovalců ve vybraných dílech.Fakulta filozofickáStudentka představila téma, strukturu a závěry své práce. Odpověděla na dotazy v posudcích i otázky komise. Její vystoupení bylo velmi kultivované.Dokončená práce s úspěšnou obhajobo
Author and Authorship in Arthur Miller’s Death of a Salesman: Willy Loman\u27s Attempts to Author a Nostalgic, Fictitious Past Lead to His Downfall, While Linda Loman’s Miller-Authored Warnings Fall on Willy’s Ever-Deaf Ears
No full textThroughout the 20th century, the American male protagonist’s obsession with and longing for a past that never existed brings about his own downfall. In Death of a Salesman, by Arthur Miller, Willy Loman nostalgically fantasizes about a bygone era, the pre-war days of glory and greatness, but as he attempts to recreate his presumed former prestige in a post-war world, the fantasy unravels, with not only death and destruction in his dream’s widening, illusory wake, but the unraveling also presents itself in the recognition that Willy’s carefully crafted memories are works of fiction. Decades of literary research focus on Willy’s fascination and obsession with memory, nostalgia for a previous age that never measures up to his memory of it. But, there is a wider gap in the research when it comes to the woman’s role. Willy’s female counterpart, Linda Loman, manages to survive because she is rooted in reality. For Linda, time moves on and reality fuels her forward progress, while Willy remains irrevocably tied to a false, self-conceived past. Routinely focusing on Linda as permissive or assisting in prolonging Willy’s fantasies, as merely the long-suffering housewife motif that Willy proposes, only exacerbates the notion that women are superfluous to the stories of men. Linda’s attempts to awaken her fantasy laden husband fall on deaf ears, and they also fall on blind critics. As the author of his fictions, Willy veers further and further from the truth of his situation and his character, while Miller’s moral lessons assert their sway through Linda as the truth teller. Linda is Miller’s voice, reminding the readers that “attention must be paid” to both Willy’s delusions and Linda’s accuracy
Three readings on childhood: an analysis of the versions of "Infância", by Willy Corrêa de Oliveira.
No full textEste trabalho tem como objetivo analisar Infância, ciclo de canções compostas por Willy Corrêa de Oliveira entre novembro de 2002 e janeiro de 2003, sobre o poema homônimo de João Cabral de Melo Neto. Para a realização deste projeto, foram analisados o poema em questão, bem como aspectos gerais das obras de João Cabral e Willy Corrêa no que concerne às canções em sua obra. Ao fim, realizei uma entrevista com o autor a respeito deste ciclo de canções, de como este gênero se sustenta no presente, bem como uma nova edição das partituras.This work aims to analyze Infância, a cycle of songs composed by Willy Corrêa de Oliveira between November 2002 and January 2003, based on the ho-monymous poem by João Cabral de Melo Neto. To carry out this project, the afore-mentioned poem was analyzed, as well as general aspects of the works of João Ca-bral and Willy Corrêa concerning the songs in his work. In conclusion, I conducted an interview with the author regarding this cycle of songs, discussing how this gen-re is sustained in the present, as well as a new edition of the sheet music
Willy Corrêa de Oliveira: por um ouvir materialista histórico
No full textEste trabalho busca compreender o pensamento sobre a Linguagem Musical do compositor Willy Corrêa de Oliveira a partir de transcrições das aulas do curso Linguagem e Estruturação Musicais, ministrado por ele no Departamento de Música da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo (USP). O autor desta dissertação parte de trechos de aulas para encontrar relações desse pensamento com a Filosofia Marxista e com diversas teorias e metodologias que resultam em uma maneira de entender a idéia por trás das notas, característica de suas análises. O materialismo-dialético é compreendido no pensamento de Willy a partir da prática e de uma consciência histórica marxista. Esses também seriam os pontos de ligação entre a teoria marxista e outras, como a fenomenologia, a hermenêutica e a semiótica, no caso. As transcrições encontram-se integrais nos Anexos. Assim, o pensamento musical de um compositor brasileiro contemporâneo torna-se disponível e acessível para os que buscam trilhar os mesmos caminhos.This work aims to understand the musical thought of composer Willy Corrêa de Oliveira from transcriptions of a course named Musical Language and Structure taught by him at Music Department of Arts and Communication School of University of São Paulo. Author works from takes of registered classes to relate this thought to Marxist Philosophy and other theories and methodologies resulting in a way of understanding the idea behind the notes, which is one of its characterizes. Dialectic-materialism is understood in Willy's thought from practice and a Marxistconscience of History. These would be the basis to join Marxist theory to others, like Phenomenology, Hermeneutics and Semiotics, in this case. All transcriptions are part of this work. Thus, musical thought of a Brazilian contemporary composer is accessible for those who go by the same track
Willy Corrêa de Oliveira: por um ouvir materialista histórico
No full textEste trabalho busca compreender o pensamento sobre a Linguagem Musical do compositor Willy Corrêa de Oliveira a partir de transcrições das aulas do curso Linguagem e Estruturação Musicais, ministrado por ele no Departamento de Música da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo (USP). O autor desta dissertação parte de trechos de aulas para encontrar relações desse pensamento com a Filosofia Marxista e com diversas teorias e metodologias que resultam em uma maneira de entender a idéia por trás das notas, característica de suas análises. O materialismo-dialético é compreendido no pensamento de Willy a partir da prática e de uma consciência histórica marxista. Esses também seriam os pontos de ligação entre a teoria marxista e outras, como a fenomenologia, a hermenêutica e a semiótica, no caso. As transcrições encontram-se integrais nos Anexos. Assim, o pensamento musical de um compositor brasileiro contemporâneo torna-se disponível e acessível para os que buscam trilhar os mesmos caminhos.This work aims to understand the musical thought of composer Willy Corrêa de Oliveira from transcriptions of a course named Musical Language and Structure taught by him at Music Department of Arts and Communication School of University of São Paulo. Author works from takes of registered classes to relate this thought to Marxist Philosophy and other theories and methodologies resulting in a way of understanding the idea behind the notes, which is one of its characterizes. Dialectic-materialism is understood in Willy's thought from practice and a Marxistconscience of History. These would be the basis to join Marxist theory to others, like Phenomenology, Hermeneutics and Semiotics, in this case. All transcriptions are part of this work. Thus, musical thought of a Brazilian contemporary composer is accessible for those who go by the same track.Universidade Estadual Paulista (UNESP
Claudine at the workshop: the impact of Willy and his secretaries on Colette's writing
No full textWhat was the influence of her first husband Willy and his literary workshop on the French writer Colette? Her opinion varied greatly, depending on when she spoke. Asked just after the publication of the Claudines, a series of books published from 1900 to 1903 initially under her husband Willy's name alone, Colette paid lip service to her contribution: "[Willy] so obstinately cries out for my participation [in the Claudines] that I have to bow down". But in 1936 in her autobiographical work Mes Apprentissages, and until her death in 1954, Colette changed her tone and insisted on Willy's minor role in the writing of these books, until her first husband's name disappeared from the cover of the novels. When Colette was asked if Willy had helped her to write these texts, she replied in 1949: "Rather by indications, but that cannot be called help... ". Which Colette should we believe?
In this paper, we analyse texts that we have ocerised and corrected. Using artificial intelligence profiling techniques, we show that the novel Claudine à l'école bears the influence of Willy and his workshop.
Claudine à l’école: a collaborative work?
Sidonie Gabrielle Colette, known as Colette (1873-1954), took her first steps on the French literary scene in the shadow of her first husband Henry-Gauthier Villars (1859-1931), better known under his pseudonym Willy. Between 1900 and 1903, four novels belonging to the Claudines series were published and signed by Willy: Claudine à l'école (1900), Claudine à Paris (1901), Claudine en ménage (1903), Claudine s'en va (1903). Willy never concealed the fact that Colette had participated in the writing of these books, as Colette acknowledged in Mes Apprentissages. The use of his name is explained both by commercial reasons (Willy was a successful author) and by social reasons: as a woman in 1900, Colette might have encountered many difficulties in publishing a novel under her own name. Willy's methods of literary production were well known to his Parisian colleagues and friends. In 1900, it is well known that Willy employed numerous "secretaries" or "collaborators" to write "his" books. Colette describes their flat as a 'literary workshop', where several pens wrote novels, meticulously revised, rewritten and commented on by Willy. In the course of his literary career, it is estimated that about fifty collaborators were employed by Willy. The draft manuscript of Claudine à l'école would also have been 'processed' by this workshop; and after being revised by Willy, it would have been reduced by half (Caradec, 2004).
Nevertheless, we do not know exactly which part of the text was written by Colette and which part was rewritten (or even written) by Willy or his collaborators. To what extent did Willy influence the first literary texts written by Colette? What role did he actually play in the writing of these novels?
A methodological challenge
Analysing the relative contributions of Colette, Willy and his secretaries poses numerous methodological problems. First of all, texts that can be attributed with certainty to Willy alone are very rare - even more so if we restrict ourselves to the novelistic genre. Finding texts written by individual participants in Willy's workshop is also a complex task. These writers are very numerous, not all of them have pursued a literary career, and some of them have probably continued to write in collaboration with other authors. It is therefore very difficult to treat the Claudines as other cases of collaborative authority (Plechac, 2019; Cafiero & Camps, 2021): training an artificial intelligence to recognise the style of each of the candidates, and then applying a rolling stylometry algorithm (Eder, 2016) is a challenge in the short term, due to the lack of reliable texts available.
Moreover, if Colette is telling the truth, Willy's main influence on these texts would come from comments and suggestions made on a text written and then corrected by herself. If this is indeed the case, a classical stylometric approach would fail: it would only detect Colette's hand, but not her influences. (Cafiero & Camps, 2019).
Profiling
If it is not easy to identify Willy's writing in Colette's text, we can try to identify his influence in other ways. The reasoning is simple: compare texts written by authors in Willy's workshop with those they wrote on their own, outside the workshop, as close as possible to their publication date. What is the difference between these texts? To a first approximation, this is what we will call the Willy effect. It includes Willy's corrections, advice or writing passages, but is not limited to them. Others may well have helped their colleagues to bring their manuscript closer to Willy's expectations - by editing, giving advice etc.
To measure this effect, we use a profiling logic (Bevendorf et al., 2021; Daelemans et al. 2019; Mikros, 2017). We train an artificial intelligence (Support Vector Machine (SVM)) to distinguish between texts written by certain authors in collaboration with Willy and texts written by the same authors outside Willy's workshop. The training is done on a corpus of novels by Paul Acker, Maurice Edmond Sailland (known as Curnonsky), Jeanne Marais, Jean de Tinan, Léo Trézenik and Pierre Veber. The SVM takes as input a combination of the most frequent character bi-grams, character tri-grams, words, and word bi-grams. The optimal parameters are deduced by cross-validation. A polynomial kernel is adopted, which performs better here than various linear kernels. Low variance features are removed to reduce the computation time. The performance of this profiling method is satisfactory (F-score: 0.89).
The texts to be evaluated (Colette's novels) are then divided into sections of a thousand words. For each section, the SVM is asked whether the text seems to be influenced by a Willy effect or not.
References
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CAFIERO, Florian et CAMPS, Jean-Baptiste. Why Molière most likely did write his plays. Science advances, 2019, vol. 5, no 11, p. eaax5489.
CAFIERO, Florian et CAMPS, Jean-Baptiste. ‘Psyché’as a Rosetta Stone? Assessing Collaborative Authorship in the French 17th Century Theatre. Proceedings http://ceur-ws. org ISSN, 2021, vol. 1613, p. 0073
CARADEC, François. Willy: le père des Claudine. Fayard, 2004.
DAELEMANS, Walter, KESTEMONT, Mike, MANJAVACAS, Enrique, et al. Overview of PAN 2019: bots and gender profiling, celebrity profiling, cross-domain authorship attribution and style change detection. In : International conference of the cross-language evaluation forum for european languages. Springer, Cham, 2019. p. 402-416.
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MIKROS, George K. Blended Authorship Attribution: Unmasking Elena Ferrante Combining Different Author Profiling Methods. UPPADO, 2017, p. 85.
PLECHÁČ, Petr. Relative contributions of Shakespeare and Fletcher in Henry VIII: An analysis based on most frequent words and most frequent rhythmic patterns. Digital Scholarship in the Humanities, 2021, vol. 36, no 2, p. 430-43
Willy Kyrklunds Till Tabbas
No full textTill Tabbas (To Tabas, 1959) is Finnish-Swedish author Willy Kyrklund's (1921-2009) account of a journey through Iran in the 1950s. While ostensibly the object of Kyrklund's text is modern Iran and early Islamic Persia, on an ideational level To Tabbas explores existential issues that are most readily associated with certain intellectual environments in post-war Europe. In one sense, the Persian "Orient" is to Kyrklund an archive of texts and images, which he uses in a discussion about what he sees as the terms of human existence. Kyrklund discusses the terms of human existence by emphasising the perceived sameness between the modern Western subject and the Persian Muslim and the masters of Sufi poetry. He uses the concept of "man" to refer to the common ground that he imagines exists between them. However, as this essay shows, "man" as an abstract category functions as a placeholder for the post-war European male intellectual, desperate in his longing for a higher purpose, and certain that no such higher purpose exists. This tendency of semantic ambiguity is discussed from a postcolonial perspective in the last section of this article.</p
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