The essays in this volume are indicative of the scope of international scholarship concerning the works of William Faulkner. They reflect particularly the distinctive and somewhat varying views that American and European scholars have of the Nobel Prize author. The nine papers included, a representative sampling of those delivered at the First International Colloquium on William Faulkner, articulate the relationship between Faulkner and idealism. All appear in English, either having been presented in English or translated so that they will be more accessible to American readers. The conference was convened in March 1980 at the University of Paris, and the scholars from both sides of the Atlantic came to realize not only that there were respective attitudes toward Faulkner's fiction but also that there was no single concept of idealism by which they might gauge Faulkner. Thus, as Gresset and Samway state in their introduction, "The colloquium was no demonstration of a theorem already proved, but rather a chance to pose a theoretical problem and then for variables that might be part of the understanding of the nature of the problem." For instance, the paper presented by Joseph Blotner, the keynote speaker, finds that Faulkner's idealism is "based on a conception of things as they are or as one would wish them to be." André Bleikasten offers another view of idealism, one stressing ideology. "Writing," he says, "can neither subvert nor dismiss ideology." Thus the nine essays bear witness to a spectrum of views and approaches one can take in using only recent critical theory and a close reading of Faulkner's texts.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Sentenced to death in 1982 for allegedly killing a police officer named Daniel Faulkner, Mumia Abu-Jamal is the most famous death row inmate in the United States, if not the world. This book is the first to convincingly show how the Philadelphia Police Department and District Attorney's Office efficiently and methodically framed him. It takes you step-by-step through what actually transpired on the night Faulkner was shot, including positioning each of the witnesses at the scene and revealing the identity of the killer. It also details the entire trial and fully covers the tortuous appeals process. The author, a seasoned crime reporter, writes in the language of hard facts, without hyperbole or exaggeration, unfounded accusation or finger-pointing, to reveal the truth about one of the most hotly debated cases of the twentieth century.
The 2nd edition of Wiley Pathways Networking Basics addresses diversity and the need for flexibility. Its content focuses on the fundamentals to help grasp the subject with an emphasis on teaching job-related skills and practical applications of concepts with clear and professional language. The core competencies and skills help users succeed with a variety of built-in learning resources to practice what they need and understand the content. These resources enable readers to think critically about their new knowledge and apply their skills in any situation.
Presents a collection of short stories from such authors as Edgar Allan Poe, Mark Twain, Henry James, Rudyard Kipling, James Joyce, Ring Lardner, Eudora Welty, and Flannery O'Connor.
Patrick Delany's reputation as a scholar and tutor at Trinity College, Dublin, and an influential preacher in his time, apologist for Church of Ireland causes, and foremost defender of Jonathan Swift against the criticisms and slanders of Lord Orrery is well documented. The purpose of this edition is to establish an authoritative text to show what sort of poet Delany is, why we should read his poems, and to claim for him a position of importance as an eighteenth-century Irish poet.
This book tells the rich and often heroic story of the press in Liberia. Early newspapers were infused with a broad race consciousness which gave way to a specific nationalism at the turn of the last century. Initially, newspapers featured biting social commentary and enjoyed wide latitude to criticise officials, but restrictions were soon applied. Exploring the uses and abuses of power, the author demonstrates that the experience of Liberia provides a sobering corrective to the current euphoria regarding the effects of globalisation.
This book explores how the creations of great authors result from the same operations as our everyday counterfactual and hypothetical imaginations, which cognitive scientists refer to as 'simulations'. Drawing on detailed literary analyses as well as recent research in neuroscience and related fields, Patrick Colm Hogan develops a rigorous theory of the principles governing simulation that goes beyond any existing framework. He examines the functions and mechanisms of narrative imagination, with particular attention to the role of theory of mind, and relates this analysis to narrative universals. In the course of this theoretical discussion, Hogan explores works by Austen, Faulkner, Shakespeare, Racine, Brecht, Kafka and Calvino. He pays particular attention to the principles and parameters defining an author's narrative idiolect, examining the cognitive and emotional continuities that span an individual author's body of work.
Style has often been understood both too broadly and too narrowly. In consequence, it has not defined a psychologically coherent area of study. In the opening chapter, Hogan first defines style so as to make possible a consistent and systematic theoretical account of the topic in relation to cognitive and affective science. Hogan illustrates the main points of the first, theoretical chapter by reference to several works, prominently Woolf's Mrs. Dalloway. Subsequent chapters in Part I focus on some under-researched aspects of literary style. Specifically, the second chapter explores the level of story construction for the scope of an authorial canon, treating Shakespeare. The third chapter turns to verbal narration in a single work, Faulkner's As I Lay Dying. Part II, on film style, begins with a theoretical chapter on film style. It turns, in chapter 5, to the perceptual interface in the genre of "painterly" films (films that draw on stylistic features of other visual arts), examining works by Rodriguez, Mehta, Rohmer, and Husain. The sixth chapter treats the level of plot in the postwar films of Ozu. The remaining film chapter turns to visual narration in a single work, Lu's Nanjing! Nanjing! The third part comprises a single chapter. It addresses theoretical and interpretive issues bearing on style in graphic fiction, with a focus on Spiegelman's Maus. An Afterword touches briefly on some possible implications of stylistic analysis for political critique"--
Studies the representation of Faulkner, Lowry, and Gaddis, focusing on the paradoxes of an indication of how different authors understand the contradictions of Annotation copyrighted by Book News, Inc., Portland, OR
Pierre Michon is one of France's most significant contemporary writers. Since the publication in 1984 of his first book, Vies minuscules, Michon's work has never ceased to evade generic classifications. His work ingests books, lives and thought and probes their complex interrelationship and those moments of convergence that transform an ordinary name into that of an 'Author' or of an 'Artist'. The contents of Michon's work are well documented: they are drawn from canonical novels, chronicles, archives and the biographies of artists' lives and are worked into cross-generic forms that revive names and make us rethink the uncertainty of literature. Less has been written of his engagement with avant-garde thought. The legacy of French avant-garde thinkers of the 1960s and 1970s, in particular the work of Roland Barthes, informs Michon's work. Barthes's notions of the referent, of intertextuality and of authorship, for example, are transposed, reconfigured and sometimes contested within Michon's work. In this way, Barthes's name, the afterlife of his thought, remains encrypted within Michon's prose. This book situates and reads Michon's texts through the complex inscription and transformation of names drawn from the Creuse, literature, art and avant-garde thought. And it is within this matrix that Michon puts in play his own name and its uncertain relation to literature.
On 18 March 2902, a massacre transpired on the campus of Ocean Park High School, claiming the lives of nine hundred forty-seven individuals--the largest school massacre in the nation's history. And the entire country now begins to ask two daunting questions: How? and Why? After the federal government becomes involved, and after examining the bouquet of black roses that lies in front of the school's sign, it becomes evident that the hysteria is far from over.Eight hundred twenty-five kilometres north of Ocean Park High School, situated in the suburbs of Phantom Park, Pacifica, is Krossephire Technical Academy. Having a student population that exceeds nineteen thousand, it is the nation's largest school. Krossephire is known as a very structured, academically superior institution with very minor problems. At least, that was before the threats began.After Krossephire Tech begins receiving sinister threats foreshadowing the occurrence of a massacre substantially larger than that of Ocean Park, Agent Jessica Leigh Hearn and her federal investigative unit become involved and the severity of the situation only intensifies as they pursue a dangerous and intelligent killer who is as invisible as the government agency they work for.Amid the hysteria that inescapably follows, Keith, Nick, and Mitchel--three twelfth-year students at Krossephire Tech--intervene after Mitchel overhears a confidential conversation. As the administrative effort to conceal the terrorising occurrences rapidly begins to fail, the three begin to conduct their own amateur investigation that ultimately puts them into serious conflict with the federal government, the Krossephire administration, as well as themselves. Simultaneously, Jessica and her team discover that the events of Ocean Park and Krossephire Tech are interrelated. And as they follow the trail of black roses, they learn an interesting yet appalling story--a parallel of the shooter's identity. And as Nick, Keith, and Mitchel struggle to survive their slowly deteriorating school, this teenage executioner makes known that he is not like typical school assassins. He is not a copycat killer. He is not a psychologically unstable maniac. He is intelligent and knows how to kill silently and without detection. His victims are not selected at random. He is after someone--and he will stop at nothing until he is face-to-face with the one person to whom he owes much retribution. However, he will not distinguish between those he hunts and those who get in his way.
Sentenced to death in 1982 for allegedly killing a police officer named Daniel Faulkner, Mumia Abu-Jamal is the most famous death row inmate in the United States, if not the world. This book is the first to convincingly show how the Philadelphia Police Department and District Attorney's Office efficiently and methodically framed him. It takes you step-by-step through what actually transpired on the night Faulkner was shot, including positioning each of the witnesses at the scene and revealing the identity of the killer. It also details the entire trial and fully covers the tortuous appeals process. The author, a seasoned crime reporter, writes in the language of hard facts, without hyperbole or exaggeration, unfounded accusation or finger-pointing, to reveal the truth about one of the most hotly debated cases of the twentieth century.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.