Over two hundred years after the French Revolution, historians have yet to reach a consensus as to what caused the bloody overthrow of one of Europe’s leading political regimes. While previous research has focused on the revolutionary policy and legislative changes that occurred during this period, there has been little focus on the involvement of related subject--the political actor.
During his attempts to create American literature distinct from its European heritage, Charles Brockden Brown wrote Ormond; Or, The Secret Witness. Written and set in the 1790s in the United States, this novel establishes a recognizably Gothic plot, only to thwart the expected sexual violence by allowing the heroine to kill the man who threatens her.
Science fiction and Fantasy, falling under the general classification of imaginative literature, have an established tradition of charting the impossible through narratives that verge on possible, often articulating underlying concerns about our social worlds through the paradox of ‘(im)possibilities’.
Despite the numerous, well-documented differences that exist between Ridley Scott’s loose filmic adaption of Philip K. Dick’s novel Do Androids Dream of Electric Sheep, as first and foremost an adaptation, Blade Runner necessarily has some points of similarity with its source text.
Technology is used to challenge the hegemonic ideal that the natural is of more value than the artificial. This prevailing valuation is explored through the examination of the societal power structure, which asserts the dominance of one group, and their ideals over any other, and the way that value is constructed and legitimized by the ruling center of the society in Philip K. Dick’s Do Androids Dream of Electric Sheep? and G. Willow Wilson’s Alif the Unseen.
The metaphor of living artwork is interestingly appropriate to the history of Ovid’s Metamorphoses. The explosion of translation in the Renaissance turned the dusty tomes of Greece and Rome face up once more, but it is for very good reason that the movement is called a “rebirth” rather than a “rediscovery.” It is no surprise that Renaissance writers “rebirthed” Pygmalion with a new interpretation for every cultural criticism and moralization.
Beowulf is a classic and ancient Anglo-Saxon hero’s tale. The various monstrosities he faces define his story and character. His defeat of Grendel, his atrocious mother, and the dragon all reflect his prowess and courage as a heroic champion. But these victories also encourage the growth of ill-fated attitudes. As J. Leyerle describes, he is a hero that “follows a code that exalts indomitable will and valor in the individual.” In fact, the more Beowulf grows as a heroic warrior the more independent and prideful he becomes. And yet, in the midst of this he is pushed towards taking on the role of a king, which is a role he is woefully unfit to take. To lead a people-group requires a willingness to cooperate and a humility that a Beowulfian hero is simply disinclined to have. This disconnect between both ideals is the crux of Beowulf’s journey. While Beowulf assumes both positions, there is a clear distinction between the characteristics of a successful hero and a successful king. Thus, the tale acts as a critique of a heroic culture that values pride and independence by showing the dangerous tendencies that this encourages, and what can happen when a hero is given power and responsibility.
Acts of war fuel change—changes in foreign and domestic relations, changes in politics, and most often changes in national boundaries. The conquests of Genghis Khan in the 12th and 13th centuries C.E. absorbed such boundary lines into the Mongol Empire, extending his rule from the steppes of Mongolia to the eastern shores of the Black Sea. His reign over such a vast expanse of land and large collection of people was due to his strict military leadership, paired with a powerful army to carry out his will. At the head of his army was a handful of generals who answered to him directly, and obediently followed his orders.
First, should the universality of the UDHR be applied to the people of Tibet in the first place, discounting its sociocultural context? To answer this question, we have to consider the appropriateness of having some principles or a set of human rights regulations that all cultures and nations can agree upon, a rather Western cosmopolitan view on international ethical issues. In cosmopolitanism, national borders are morally irrelevant because “a truly moral rule or code will be applicable to everyone.” However, it raises concerns knowing that most of the debates about international ethics come from Western traditions of moral theory.
The self can be defined as an individual’s experience that one is a separate entity from other beings. This paper will discuss this notion of self, how it is produced linguistically, and its relation to the sense of personal identity.
The advent of globalization has brought about sweeping changes that have left indelible marks on societies. While newfound interconnectedness between cultures, information, and people creates an increasingly homogenized planet in some respects, such trends also have the effect of isolating certain non-members of the so-called “global community.” This residual marginalization has typically affected those who obstinately cling to the past, and those who are simply dubious towards the current state of affairs. For these persons, methods of coping with this social and psychological schism run the gamut from complete denial and delusion, to important modulations of acceptance.
The situation comedy, or the “sitcom,” is an established part of daily television. Prime time is rife with them; some are considered classics (All in the Family, The Cosby Show,Cheers), and others are quoted long after they are off the air (Friends, Seinfeld, Will and Grace).
A circle has no end or beginning. It contains two equal halves, connected by the diameter and an invisible plane. David Mitchell’s novel emulates this eternal, undefined symmetry. His story ends where it begins, connecting twelve half-lives at the book’s center and throughout with an invisible force that binds them together.
Mina Loy is primarily known as an early modernist poet, although she was also an admired creator in other spheres. One of Loy’s most recognisable and insightful remarks in her essay “Modern Poetry” is that “Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea” (Loy 157)
The Book of Repulsive Women is a collection of eight poems and five drawingsby Djuna Barnes first published in 1915. Despite the fact that this was Barnes’ first publication of what she considered to be her “serious” work, she later hated the book and wished to repress the fact that she had written it at all.
Unnaturally colored hair, alternative style, an affinity for the Smiths, and just socially awkward enough to be lovable, the alternative girl has found her way out of the high school and college hallways and directly onto the silver screen. In the last twenty years, television and film have begun to feature the quirky, alternative female alongside the usual female characters who embody homogenized ideals of feminine beauty. Television shows such as New Girl, Girls, and even NCIS have featured the alternative girl as either a protagonist or an important secondary character. The acceptance of diverse and alternative female characters into mass media represents a move towards drawing in the “Indie crowd,” a now marketable demographic made viable by the hipster movement.
The difference between art and non-art is merely one of perception and we can control how we organize our perceptions- Kyle Gann in “No Such Thing as Silence”
The 21st century is an era characterised by diversity. By looking at the 19th and 20thcenturies, one can better understand the music of their own time. The Present is shaped by both a past and a future. Wagner (1813-1883) and John Cage (1912-1992) are key figures in music history and have had a fundamental impact on the music of today.
On March 3, Carol Browner granted a half hour interview with Apollon following her convocation. “The nation that leads in green jobs will be the leader of the 21st Century,” she declared in her speech before the student population. In wide-ranging remarks, she cited everything from melting polar ice caps to U.S. military’s transportation cost in Afghanistan to “knowing your neighbors” as reasons to support the United States’ transition to a cleaner and more sustainable future.
During Carol Browner’s March 3rd Convocation lecture, she discussed many of the alternative energy sources being considered for development as a means to kick the United States’ oil addiction. As Charles Badger noted in his editorial, some environmentalists in attendance were in disagreement with Browner’s policy-driven approach to environmental pragmatism.
Paul Valéry’s “Philosophy of the Dance” may have ekphrastic potential, but before suggesting that the author’s words give voice to the dance, a strong association between word and the dancer’s image must be formed.
Scholars have argued that no area of East German society more decisively formed the “socialist citizen” than education, and the monolithic nature of this socialist education serves as a testament to such indoctrination (Rodden 2002, pg. 9).
Charles Chesnutt's collection of stories entitled The Conjure Woman, which involve the telling of past plantation stories by an elderly former slave named Julius McAdoo to a curious white couple named John and Annie, were originally published in 1899.
When the first folio edition of William Shakespeare's works was published in 1623, "it was not clear whose idea the collected volume was or even what was the precise motivation for it" (Proudfoot, Thompson, & Kastan-1998, 8), but the inclusion of two actors that worked with Shakespeare in the publication process underscores the importance of accuracy of authorial intent in the volume.
For the duration of Randolph College’s fall 2009 semester, visitors to the Maier Museum of Art are treated to a special exhibition, titled Teaching Begins Here: Recent Works by Randolph College Art Faculty.
After completing work on what would become his masterpiece, Moby-Dick or, the Whale, Herman Melville drafted a letter to friend and fellow author Nathaniel Hawthorne, noting: “I have written a wicked book, and feel spotless as the lamb” (Coffler 108).