Drawing on the author's teaching practice and experience, this book is based on the premise that reading and analysing literary texts are rewarding pursuits. The target group is grammar school pupils and students at colleges of education and universities. Pedagogic theories are dealt with only in so far as they are applicable to the teaching situation. After establishing the distinction between fiction, which demands a willing suspension of disbelief, and non-fiction, which is set in the universe of the pupils experience, succeeding chapters set out the benefits for the teaching of literature -- namely, how it encompasses psychology, history, and aesthetics. It fulfils the Horatian demand profit and delight. After addressing the pedagogic assets and liabilities of various theories of the concept of text, what lies at the heart of the book is how teachers tackle their role in guiding and inspiring without pontificating. The invitation to the student is to co-operate constructively, but not uncritically. Issues of interpretation and the passing on of interpretative paradigms are alerted to, which leads naturally on to the pedagogic challenge of explaining the potentialities of different genres, and the necessity of a firm grounding in technical terms like composition, style, theme, metaphor, etc. as didactic tools. A concluding chapter suggests criteria that may make value and evaluation rest on strong foundations in acknowledgement of the subjective elements inherent in the literary experience, namely to avoid making literary analysis a schematic formula and to ensure that it promotes the expansion of the students humanistic horizon. This book is essential reading for all those involved in teaching Literature and Language.
Eliot's dictum about the objective correlative has often been quoted but rarely analysed. This book traces the maxim to some of its sources and places it in a contemporary context. Eliot agreed with Locke about the necessity of sensory input, but for a poet to be able to create poetry, the input has to be processed by the poet's intellect. Respect for control of feelings and order of presentation were central to Eliot's conception of literary criticism. The result the objective correlative is not one word, but "a scene" or "a chain of events". Eliot's thinking was also inspired by late 19th century French critics like Gautier and Gourmont, whose terminology he not infrequently borrowed. But he chose the term "objective" out of respect for the prestige that still surrounded the Positivist paradigm. In its break-away from Positivist dogmas, criticism of art in the early 20th century was very much preoccupied with form. In poetry, that meant focus on the use and function of the word. That focus is perceptible everywhere in Eliot's criticism. Even though the idea of the objective correlative was not an original one, Eliot's treatment of it is interesting because he sees a seeming truism ("the right word in the right place") in a new light. He never developed the theory, but the thought is traceable in several of his critical essays. On account of its categorical and rudimentary form, the theory is not unproblematic: whose fault is it if the reader's response does not square with the poet's intention? And indeed, Eliot's own practice belies his theory -- witness the multifarious legitimate interpretations of his poems.
Many of the ideas that appear in Arnold's Preface of 1853 to his collection of poems and in his later essays are suggested in the letters that Arnold wrote to his friend Arthur Hugh Clough. Analysis of the Preface reveals a poet who found a theoretical basis for poetry (by which he means literature in general) in the dramas of the Greek tragedians, particularly Sophocles: action is stressed as an indispensable ingredient, wholes are preferred to parts, the didactic function of literature is promoted -- in short, the Preface reads like the recipe for a classical tragedy. It is a young poet's attempt to establish criteria for what poetry ought to be. He found the Romantic idiom outworn. Literature was, in Arnold's perception, meant to communicate a message rather than impress by its structure or by formal sophistication. Modern theories of coalescence between content and form were outside the contemporary paradigm. T S Eliot's ambivalent attitude to Arnold -- now reluctantly admiring, now decidedly patronizing -- is puzzling. Eliot never seemed able to liberate himself from the influence of Arnold. What in Arnold's critical oeuvre attracted and at the same time repelled Eliot? That question has led to an in-depth analysis of Arnold as a literary critic. This book begins with an examination of Arnold's letters to Clough, where "it all started" and proceeds with a close reading of the 1853 Preface. A look at some of the later literary essays rounds off the picture of Arnold as a literary critic. This work is the result of Reader and Review comments of the author's well received Eliot's Objective Criticism: Tradition or Individual Talent? "Yet he is in some respects the most satisfactory man of letters of his age." -- T S Eliot, The Use of Poetry and the Use of Criticism.
Drawing on the author's teaching practice and experience, this book is based on the premise that reading and analysing literary texts are rewarding pursuits. The target group is grammar school pupils and students at colleges of education and universities. Pedagogic theories are dealt with only in so far as they are applicable to the teaching situation. After establishing the distinction between fiction, which demands a willing suspension of disbelief, and non-fiction, which is set in the universe of the pupils experience, succeeding chapters set out the benefits for the teaching of literature -- namely, how it encompasses psychology, history, and aesthetics. It fulfils the Horatian demand profit and delight. After addressing the pedagogic assets and liabilities of various theories of the concept of text, what lies at the heart of the book is how teachers tackle their role in guiding and inspiring without pontificating. The invitation to the student is to co-operate constructively, but not uncritically. Issues of interpretation and the passing on of interpretative paradigms are alerted to, which leads naturally on to the pedagogic challenge of explaining the potentialities of different genres, and the necessity of a firm grounding in technical terms like composition, style, theme, metaphor, etc. as didactic tools. A concluding chapter suggests criteria that may make value and evaluation rest on strong foundations in acknowledgement of the subjective elements inherent in the literary experience, namely to avoid making literary analysis a schematic formula and to ensure that it promotes the expansion of the students humanistic horizon. This book is essential reading for all those involved in teaching Literature and Language.
Many of the ideas that appear in Arnold's Preface of 1853 to his collection of poems and in his later essays are suggested in the letters that Arnold wrote to his friend Arthur Hugh Clough. Analysis of the Preface reveals a poet who found a theoretical basis for poetry (by which he means literature in general) in the dramas of the Greek tragedians, particularly Sophocles: action is stressed as an indispensable ingredient, wholes are preferred to parts, the didactic function of literature is promoted -- in short, the Preface reads like the recipe for a classical tragedy. It is a young poet's attempt to establish criteria for what poetry ought to be. He found the Romantic idiom outworn. Literature was, in Arnold's perception, meant to communicate a message rather than impress by its structure or by formal sophistication. Modern theories of coalescence between content and form were outside the contemporary paradigm. T S Eliot's ambivalent attitude to Arnold -- now reluctantly admiring, now decidedly patronizing -- is puzzling. Eliot never seemed able to liberate himself from the influence of Arnold. What in Arnold's critical oeuvre attracted and at the same time repelled Eliot? That question has led to an in-depth analysis of Arnold as a literary critic. This book begins with an examination of Arnold's letters to Clough, where "it all started" and proceeds with a close reading of the 1853 Preface. A look at some of the later literary essays rounds off the picture of Arnold as a literary critic. This work is the result of Reader and Review comments of the author's well received Eliot's Objective Criticism: Tradition or Individual Talent? "Yet he is in some respects the most satisfactory man of letters of his age." -- T S Eliot, The Use of Poetry and the Use of Criticism.
Eliot's dictum about the objective correlative has often been quoted but rarely analysed. This book traces the maxim to some of its sources and places it in a contemporary context. Eliot agreed with Locke about the necessity of sensory input, but for a poet to be able to create poetry, the input has to be processed by the poet's intellect. Respect for control of feelings and order of presentation were central to Eliot's conception of literary criticism. The result the objective correlative is not one word, but "a scene" or "a chain of events". Eliot's thinking was also inspired by late 19th century French critics like Gautier and Gourmont, whose terminology he not infrequently borrowed. But he chose the term "objective" out of respect for the prestige that still surrounded the Positivist paradigm. In its break-away from Positivist dogmas, criticism of art in the early 20th century was very much preoccupied with form. In poetry, that meant focus on the use and function of the word. That focus is perceptible everywhere in Eliot's criticism. Even though the idea of the objective correlative was not an original one, Eliot's treatment of it is interesting because he sees a seeming truism ("the right word in the right place") in a new light. He never developed the theory, but the thought is traceable in several of his critical essays. On account of its categorical and rudimentary form, the theory is not unproblematic: whose fault is it if the reader's response does not square with the poet's intention? And indeed, Eliot's own practice belies his theory -- witness the multifarious legitimate interpretations of his poems.
Fenollosa's long essay, "The Chinese Written Character as a Medium for Poetry", was a ground-breaking, if idiosyncratic, poetic criticism, as well as a significant illustration of prevalent intellectual concerns. Flemming Olsen follows Fenollosa's theorising, showing the extent to which it is indebted to, and shaped by, post-Positivist tenets.
For generations, the Royal Library in Denmark has contributed to or published bibliographies within the field of humanities and social sciences. This bibliography of Classical studies is a continuation of P.A. Hansen's Bibliography of Danish Contributions to Classical Scholarship from the Sixteenth Century to 1970 (Copenhagen 1977), continuing up to 1991. It restricts itself to Classical Antiquity, from which follows the exclusion of Theology (comprising works by or on Christian writers in antiquity, as well as the Scriptures), Middle Latin, Byzantine Greek (scholia on classical writers excepted), the Classical tradition, and the ancient cultures outside the classical world.
This novel tells the story of a young Danish Naval lieutenant caught up in the turbulent times of the German occupation of Denmark in World War Two. As their peaceful nation is invaded, Danes at first adjust to the new order but ultimately respond in kind to the brutal treatment at the hands of their hated captors. The Danish lieutenant is an eyewitness to, and sometimes a participant in, the dangerous acts of defiance carried out by ordinary citizens and members of the outnumbered Danish military. When the German occupiers begin the deportation of the Jewish population to death camps, the Danes undertake a truly remarkable strategy in an attempt to save their coutrymen. Almost alone in continental Europe in their resolve to stand against the repugnant Holocaust, the Danes risked it all in the name of human decency and moral courage. A moving love story is entwinced with the gripping action and historical events of this fascinating and fast-paced novel.
Emotions, Advertising and Consumer Choice focuses on recent neurological and psychological insights - originating from brain scanning or neurological experiments - on basic emotional processes in the brain and their role in controlling human behaviour. These insights are translated by the authors to cover the behaviour of ordinary individuals in everyday life. The book looks at these developments in the light of traditional cognitive theories of consumer choice and it discusses the implications for advertising and other communication testing."--Jacket.
Until now, techniques for studying biofilms- the cellular colonies that live in drinking water systems, wastewater operations, even ground and surface water- have been limited. Yet during the last decade, biofilms have become a critical element in water quality preservation systems, a key component of wastewater treatment biological reactions and t
In the first two chapters of this book there is information about the needs and potential applications of indwelling transducers both present and past, and will go into detail about many topics such as the fundaments of blood pressure transducers, studies of the intestinal motility and clinical aspects of cardiovascular pressure measurements. Chapters 3, 4 & 5 explain and give information on manufacturers considerations of indwelling pressure transducer, specifications of commercial pressure transducers. Research and development of indwelling pressure transducer, explaining the principles of pressure transducer, biomedical applications. And then they move onto future directions for implant pressure transducers and the users point of view. This book covers a wide spectrum on indwelling pressure transducers.
In 1958, Flemming Nielsen and his older brother Aage left Denmark to begin a new life in Canada. Flemming was only seventeen, and he could not have guessed that his first job at the Canadian Broadcasting Corporation in Toronto would lead to a forty-year career in the entertainment and cultural fields. During that time he wore many different hats: clerk, technician, producer-director, TV program manager and interviewer, cinema owner, magazine publisher and film festival president. His business life was full of exciting people, exploits and challenges. He married Lorie Doucette in 1964, and three years later they moved to Calgary, Alberta, where their two daughters were born. They retired in 1998, sold their home, packed a minivan with lifes necessities and headed for Los Cabos at the southern tip of the Baja Peninsula. Flemming had never been to Mexico. Neither he nor Lorie could speak Spanish. They didnt know anyone, and they had no place to live, but they were prepared for whatever new adventures lay ahead. These recollections of an extraordinary life, lived to the full, have been assembled for the benefit of family, in Canada and in Europe, as well as for friends, acquaintances and anyone else who might like to know more.
The capital of ancient Dilmun, Qala'at al-Bahrain, the most important archaeological site in East Arabia, was excavated in 1954-1978 by a Danish expedition from Moesgaard Museum. The first two volumes were published in 1994 and 1997, dealing with the northern city wall, the Islamic fortress and the central monumental buildings. The third volume covers the remaining 13 excavations, presenting their architectures and stratigraphies. A detailed treatment of the finds is given, stamp seals, inscriptions, figurines, incense burners, human bones, pottery, etc., dating from the late 3rd millennium to the Islamic period.
This story is about the Klint family, which originates from Møgeltønder in Synderjylland, Denmark. The story is mainly about two sons of Hans Simonsen Klint and Karen Klint. Simon Klint, captain, and Jens Klint, mate. They both sailed on the Danish West Indies, from the Netherlands. There is good reason to believe that they sailed on slave ships. Captain Simon Klint was co-owner of a plantation in Suriname, and they both owned their own house in Møgeltønder. Which suggests they were making good money. Houses that stand there to this day.
Six years of excavations in Tell F3 have uncovered several occupation phases belonging to the middle of the 2nd millennium BC, Failaka period 3B (c. 1600 BC). Though the material culture of Dilmun was heavily influenced by South Mesopotamia, this was a period where Dilmun regained its former importance after the economic and political collapse around 1700 BC, perhaps leading up to a final conquest by the Sealand Dynasty. The end stages of the development of Dilmun stamp seals are documented, e.g. the first find of a Style III Dilmun seal in a safe period 3B context. The renaissance in stamp seal Style III is paralleled in stone vessels decorated in the Failaka Figurative Style. Flemming Højlund: Former Head of Oriental Department at Moesgaard Museum, Denmark; directed excavations in Bahrain, Qatar and lately on Failaka Island in Kuwait (2008-2017); published numerous articles and monographs on Arabian Gulf archaeology; and organized exhibitions on the history and culture of the Gulf at Moesgaard Museum, at the Bahrain National Museum and in Abu Dhabi. Anna Hilton: Educated at the Carsten Niebuhr Institute of University of Copenhagen and excavated extensively in the Near East, lately (2014-2019) as Field Director on Failaka. Published a monograph on the stone vessels found during the Danish excavations 1958-1963 at Tell F3 and F6 on Failaka, Kuwait.
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