1,043 research outputs found
Letter with attachment: Saul Singer to Ida M. Tarbell, November 29, 1926
No full textLetter with document, Housing Plan, November 19, 192
Saul Bellow and the evolution of the American masculine experience: a study on Dangling Man, The Victim and Seize the Day
No full textThe following thesis studies the philosophical and sociological background of three novels written by Saul Bellow between 1944 and 1956, namely Dangling Man, The Victim, and Seize the Day. During this period, the place of the individual in society changed rapidly and this created tension between the social organisation in place and individuals who struggled to find their place in society. The focus on individuality in Saul Bellow's early novels has led to the consensus that the author conveys ideas which relate to the philosophical current of Existentialism. This association has shadowed other aspects of these three novels such as their sociological relevancy. The purpose of this thesis is to expand upon the existentialist focus present in most criticism in order to demonstrate the sociological evolution of the American masculine experience. In turn, this aims to highlight the shift from a traditional image of masculinity based on heroism, personal ambition, and restrictive emotionality to a masculine identity more inclined to question its perception of itself and the world. To do so, it relates each novel to influential studies conducted at the time to offer an evolutionary perspective of the American masculine identity within that particular time-frame. For each novel, it exposes the male protagonist's struggles with social organisation to offer a valuable insight in the treatment and evolution of the masculine identity in Saul Bellow's early novels. Altogether, this thesis aims to develop connections between Saul Bellow's fiction and the historical challenges faced by American males in urban America
Il “Saul” di Vittorio Alfieri
No full textMy paper analyzes Vittorio Alifieri’s tragedy Saul. The author writes the tragedy after reading
the Bible, and particularly Samuel’s first book. Alfieri is enthusiastic about the biblical text,
thanks to its “sublime” theme and style, very useful for adapting the story as a tragedy. Alfieri
creates Saul without betraying the spirit of the source text – he underlines the king of Israel’s
ambivalent behavior toward his son-in-law David, whom he loves and hates at the same time.
From this perspective, Saul is quite a different character from the other “tyrants” from Alfieri’s
other tragedies. In his own words, the author finds in Saul «that uncertainty of the human heart,
so magical; so, a man loving two loves opposite to one another, wants and does not want the very
same thing. This uncertainty is one of the major secrets for generating emotion and suspension in
a theatre». And Alfieri makes it. He himself plays Saul on stage, many times, since he considers
him his “dearest” character – according to the author, in this character there is «everything,
absolutely everything». Moreover, Saul has been staged with the most famous actors all along the
Nineteenth and Twentieth century
1 - Samuel Dong Saul
No full textThis is a lightbox that is 40 x 25 inches in size, with different color lithographs on Mylar.Is it really strange to think that objects speak? Take a moment to think about this very closely; they might not be speaking to you in a verbal form, but they are surely communicating messages to you in way only you can understand. Could this means they could feel, think, just the way we do? Perhaps. Objects are often part of language, sometimes even before they exist. These objects become social or cultural artifacts well before they are used by living things. Objects "meanings" and "functions" are framed within the constrains of a cultural group. We assign them significance because of what they do, and what they are made off. Shapes, colors, matter, and the combinations of the three build pretty much everything in our observable universe. We just interpret what they might be. If we are made of the same matter, why not think that they might be "alive" too, with feelings and ideas of their own. We will never know what they really want, but we can sure interpret what they are trying to communicate. Contemporary artist make works that engage with viewers about theories of symbolic communication and strategies of analysis. Many of them use text simply for its ability to communicate meaning that are difficult to express in images alone; to convey ideas, descriptions, arguments, and possibly, the interpretation of what the objects someone interacts with, are trying to say.Visual and Performing Arts
Saul Who Also Is Called Paul
No full textFrom the time of Origen and of Rufinus and St. Jerome the question of the apparent change of the apostle's name from Saul to Paul has interested students of the New Testament. The problem is due to the fact that the author of the Acts in briefly giving an account of Paul's meeting with the Roman governor of Cyprus, Sergius Paullus, and with the false prophet Elymas, simply states: “Then Saul (who also is called Paul) filled with the Holy Ghost, set his eyes on him, etc.” Before this verse in Acts the apostle's name is invariably given as Saul, and after this verse he is always called Paul, except in two passages where there is reference to the very beginning of his career, his conversion. In his letters the name Paul, and never Saul, is used.</jats:p
Zakhor, Yizkor, Kaddish. The Ethics and Aesthetics of Mourning in the Short Fiction of Four American Jewish Authors : Saul Bellow, Bernard Malamud, Cynthia Ozick and Isaac Bashevis Singer
No full textCette thèse se penche sur la question du travail de deuil dans la littérature juive américaine de la seconde moitié du vingtième siècle, prenant appui sur la fiction brève de quatre auteurs majeurs : Saul Bellow, Bernard Malamud, Cynthia Ozick et Isaac Bashevis Singer. Elle évoque les modalités judaïques du rapport à la mémoire à la lumière du corpus, mais aussi l'inscription de l’œuvre de nos auteurs dans un contexte marqué par un ensemble de deuils singuliers, mais aussi par le deuil du collectif à l'ère post-Shoah, qui passe par la mise en scène d'une langue en deuil d'elle-même.This thesis examines the question of mourning in American Jewish literature of the second half of the twentieth century, drawing on the short fiction of four major authors: Saul Bellow, Bernard Malamud, Cynthia Ozick and Isaac Bashevis Singer. It discusses the Jewish imperative of memory in the light of the corpus, and contextualizes the work of our authors and their reference not only to family losses but also to collective mourning in the post-Shoah era, which involves shaping of a language of mourning
Zakhor, Yizkor, Kaddish. Éthique et esthétique du deuil dans la fiction brève de quatre auteurs juifs américains : Saul Bellow, Bernard Malamud, Cynthia Ozick et Isaac Bashevis Singer
No full textThis thesis examines the question of mourning in American Jewish literature of the second half of the twentieth century, drawing on the short fiction of four major authors: Saul Bellow, Bernard Malamud, Cynthia Ozick and Isaac Bashevis Singer. It discusses the Jewish imperative of memory in the light of the corpus, and contextualizes the work of our authors and their reference not only to family losses but also to collective mourning in the post-Shoah era, which involves shaping of a language of mourning.Cette thèse se penche sur la question du travail de deuil dans la littérature juive américaine de la seconde moitié du vingtième siècle, prenant appui sur la fiction brève de quatre auteurs majeurs : Saul Bellow, Bernard Malamud, Cynthia Ozick et Isaac Bashevis Singer. Elle évoque les modalités judaïques du rapport à la mémoire à la lumière du corpus, mais aussi l'inscription de l’œuvre de nos auteurs dans un contexte marqué par un ensemble de deuils singuliers, mais aussi par le deuil du collectif à l'ère post-Shoah, qui passe par la mise en scène d'une langue en deuil d'elle-même
Ashen Hearts and Astral Zones: Bashevis Singer in Yiddish and English Preparations
No full textThis article interprets the career of the Yiddish writer Isaac Bashevis Singer, winner of the Nobel Prize for Literature in 1978, in English translation. Involved is an understanding of the emotional and linguistic impact of the Haskala or “Jewish Enlightenment” on Polish Jewisk life as well as of the other ideologies confronting Jewry—Socialism, Zionism and Hassidic Return, for example. Involved also is a just evaluation of the linguistic achievements of Singer’s translators, especially Jacob Sloan, Cecil Hemley, Elaine Gottlieb, Saul Bellow and Isaac Rosenfeld, all of whom have a creative identity with a thematic and stylistic influence on translation quality. An attempt is likewise made to demonstrate Singer’s transcendence of his rabbinical past and of his refuge in the United States.Cet article interprète la carrière d’Isaac Bashevis Singer, l’écrivain yiddish et lauréat du prix Nobel en 1978, à travers des traductions de son oeuvre en anglais. Il s’agit surtout de l’influence de la Haskala ou de l’Âge de lumières juives et des autres idéologies dans le monde juif — socialisme, sionisme, et retour aux racines hassidiques, par exemple. Il s’agit aussi d’une compréhension juste des accomplissements des traducteurs de Singer, surtout de Jacob Sloan, Cecil Hemley, Elaine Gottlieb, Saul Bellow et Isaac Rosenfeld. Ceux-ci exprimaient des identités « originales » dans leurs oeuvres créatrices et leurs expressions thématiques et stylistiques influaient sur la qualité de leurs traductions. On essaie également de démontrer la transcendance hassidique et cabalistique sur la base rabbinique de Singer aussi bien que sur son refuge aux États-Unis
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