Contents:
Akhenaten and God Dies by the Nile. Read Snow, Hiroshima, and How to Survive. See Hiroshima, mon Amour. Lecture on Pamuk and Turkey. Read The Waves and Black Water. Lecture on Woolf, Proust, and early modernism. Act out six characters. Final papers will be uploaded to EvergreenEnergy. Links online at Professor Keefer's site: Go Red with the Peking Revolutionary Opera.
Explore Feminism and the Body. Expand your timespace in Einstein's Dreams. I want to touch you a little.
That delicate little blue vein at your temple, the soft down of your neck. I just want to caress you a little. I just want to kiss you a little--your lips, your throat, your breasts. I just want to embrace you a little. I just want to comfort you a little. I just want to hold you tight! I just want to measure you skeleton with my arms. These are strong, healthy arms, aren't they. I just want to poke my tongue in your ear. This is the real thing! I just want to suck a little. I just want to press into you a little.
I just want to penetrate you a little. I just want to ejaculate into you a little. It won't hurt if you don't scream but you'll be hurt if you keep straining away like that, if you exaggerate. Thank you, I just want to squeeze you a little. I just want a taste of it. Your saliva, your blood. You've got plenty to spare.
You're laughing at me. You want to humiliate me. You want to make a fool of me. You want to gut me like a chicken. You want to castrate me. You want to make me fight for my life, is that it? You want to make ME fight for my life, is that it? With Black Water , she captures again, what it feels like to be a victim and a perpetrator, as well as how water, normally a cleansing and purifying element, transforms into a putrid hell of suffocating liquid, made black by the oil from the crashing car, as it slowly drowns the heroine, and gives the Senator the ride of his life.
Screenwriting versus Personal Writing. The Biological Rhythms of Drama. Myth and the Movies. Write out a passage from the book, approximately one page, triple spaced, numbering every line. Then analyse for intrinsic and extrinsic meaning, relationship to the rest of the text, rhetorical devices, structure and aesthetics. Even though you are concentrating on a single passage, it is important that you read the entire work to understand its relationship to the whole. First of all you must understand the denotative and connotative meanings of every word in the text.
Use your thesaurus and dictionary frequently so that you understand every possible meaning even when you think you know what is being said. Then analyze sentence structure simple, complex, compound, compound-complex and paragraph structure and progression in a novel or short story, dialogue and action in a play, prosody if a poem. Most of your works are novels. Does the passage describe a natural or artificial scene and what is the degree of plausibility, suspension of disbelief?
How vivid and explicit is the descriptive language? Does it describe character as monologue or dialogue, explicit or unconscious? Does it describe an action, develop an argument or an idea connected with the larger world of the fiction? How is the passage sequenced, in other words, what comes before and after, and why? How does this relate to the overall dramatic structure? Is this a passage devoted to exposition, complication, turning point, crisis, climax or resolution? What are the levels of empathy or emotional involvement?
Comedic techniques or devices to increase suspense and drama? In what person is the novel told? In a drama, how successfully are the characters orchestrated? How is language used aesthetically to develop theme and how his theme related to the central dramatic question and the protagonist's objectives? In this global literature course, how do style and structure reflect the taste of the indigenous culture?
How does this passage compare with another one on the same content, but from a different culture? For whom is the story written? How does the narrative voice relate to audience? When you analyze language, place close attention to both diction, or choice of words, formal, informal, colloquial, concrete, abstract and rhetorical devices. Even prose passages can be scanned to determine rhythm. It is not enough to identify these devices-- you must relate them to the whole, and evaluate their impact on dramatic structure, aesthetics, meaning, and objective.
Put all your passages in one document and feel free to compare and contrast three passages with a similar theme, style or objective. Discuss any socio-political or philosophical knowledge necessary to enhance meaning of these passages. Look at the learning objectives of each of the six clusters and see that you are relating to genre, dramatic structure, timespace constraints, setting, sets and sequencing, levels of realism and plausibility, narrative styles and techniques, didacticism, themes and premises, character transformation and orchestration, descriptive language, concreteness of imagery, relationship of imagery to plot, character and structure, and finally stylistic techniques The theme can be implicit or explicit as it relates to the author's attitude towards the subject matter.
It can also color the sequencing and the subliminal messages. In God Dies by the Nile, the theme is related to the sun, to the invisible god who sees and does not see the atrocities committed by the humans. Each chapter focuses on a different position of the sun. The stoning occurs in the dark. At the end, Zakeya says she killed god, implying that she killed the Mayor.
Just as Mahfouz' Gebelaawi is not the real Muslim God, the god who dies in el Saadawi's book is not the real God either. You may not have balanced character orchestration, as in a memoir like Red Azalea or Soul Mountain. You rare, usually secondary In Soul Moutain, some chapters are written in the second person as a way to deconstruct the self. I use it to connect with the Reader. She, He, They; limited, Hemingway , omniscient, omnipotent or omnipresent Tolstoi. Narrators as characters or narrators as invisible seams.
Pamuk uses 18 narrators, some non-human. I use 18 non-human narrators in a linear pass-the-ball narrative. Distinguish between omnipresent paychological narrators who move in for interior monologues like Molly Bloom's soliloquy and a real first person narrator.
Degrees of psychological penetration. Is the narrator reporting action like a camera or delving into the thoughts or even unconscious fantasies Joyce of the characters? Multiple or single narrators: Evemts arramged in time and space Linear Ironically Ulysses is linear--one day in the life of three Dubliners but when it goes into stream-of-consciousness monologues if appears to be Linear with flashbacks Jumbled traditional dramatic structure, like Pulp Fiction Recursive-- spokes of a wheel like psychoanalysis Oedipus Rex is caught in the static present, investigating the horrors of his past where he killed his father and married his mother.
The past then forces desperate action in the static present. Description, Setting, Locales What senses are evoked? Olfactory, visual, auditory, kinesthetic, gustatory For example, Pamuk is more visual than Mahfouz. Many Arab writers are auditory. Tahar ben Jalloun is very kinesthetic. Proust is very gustatory. You can also have synesthesia as in surreal poetry or Satanic Verses or a kind of psychic sense. Is the description artistically integrated, linguistically and thematically? How does this description enhance the theme? Analyze language in terms of denotative and connotative meanings, syntax or sentence structure, paragraph length and progression, rhythm, meter, rhyme, tone color, figures of speech simile, metaphor, personification etc.
Novels may have more thna one question for different plot lines. Dramatic Structure is the orchestration of conflict, first based on Aristotle's Poetics, developed by Shakespeare and eventually Hollywood plot points. Catalyst Plot Point One: Confrontation Plot Point Two: Chaos, all is lost Crisis Climax Conclusion CDQ is refined and developed and re-asked at every plot point which involves protagonist-antagonist conflict. In some non-EuroAmerican literature, multiple protagonists can confuse the dramatic structure but there is still usually one or two throughlines.
Harry wants so badly to get Sally that he is willing to go through a sex change to pretend to be her guardian. John wants so badly to unclash civilizations that he is willing to go to Iraq and hang out in the streets, thereby risking his life. Throughline includes major objective through work as well as the potentially greatest sacrifice. Warren wants so badly to get his degree he is willing to wake up early every Saturday morning. But this throughline must last throughout the entire work. Every scene usually has minor conflicting objectives.
Campbell myth of Ordinary versus Special World In God Dies by the Nile you have the Ordinary World of the town versus the Special World outside the town where the stoning, necrophilia, wild dances and exorcism occur. The threshold is seen with Zakeya's supposed madness. Characters Analyze characters in terms of archetypes: Hero or Heroine, Herald who announces the Call to Adventure, Threshold Guardians, Tricksters, Shapeshifters to complicate plot, The Shadow or antagonist who can also be aspects of the darker self, Allies and Enemies, Love interests Archetypes differ from other ways of analyzing character because they relate to the Journey.
Are characters 3-dimensional, stereotypes, or what? Balanced character orchestration Character transformationhow, why and when do they change Analyze dialogue: Is it authentic to the actual character? Slang and expletives, informal and formal, jokes, plays on words, Interaction: Evaluate empathy for characters, vulnerability and jeopardy Character's layers of imperfections, secrets, lies, epiphanies, transformations, character development and choices Dreams, nightmares, fantasies Researching the World Analyze degrees of reality: Americans often reject didactic digressions as seen in Victor Hugo, Orhan Pamuk, preferring to show rather than tell.
Many Americans and Europeans want all exposition to be ammunition. Using selections from All Quiet on the Western Front as examples, please review the following to help you with close textual analysis:. When he presses himself down upon her long and powerfully, when he buries his face and his limbs deep in her from the fear of death by shell-fire, then she is his only friend, his brother, his mother; he stifles his terror and his cries in her silence and her security; she shelters him and releases him for ten seconds to live, to run, ten seconds of life; receives him again and often forever.
You still think I am a child--why can I not put my head in your lap and weep? They still smell of resin, and piine, and the forest. Rhetorical devices also include the syllogisms, logical fallacies etc explained at www. Critics analyze in reverse of how many writers create, except poets, who often start with language and word games Theme is the way the author relates to the material, combining the form and content for aesthetic or didactic purposes.
It is not the same as the Central Dramatic Question. Characters can be multi-dimensional, stereotypes, archetypes, secrets, lies, flaws, objectives, needs, desires, conflicts, fantasies, nightmares, dreams, what is the worst or the best that could happen? Naguib Mahfouz Akhenaten is a short historical novel, describing Egypt's first monotheistic pharaoah through the eyes of multiple narrators, a common Arabic storytelling technique. One of the greatest and most long-lasting cultures was born in the fertile Nile River valley, surrounded by deserts. Although this area is tremendously polluted now, it used to be a beautiful oasis in the ancient world, where a very sophisticated culture flourished.
Naguib Nahfouz is the best-known and most studied Arab novelist in the Anglophone world. Mafouz was born in a warren of ancient alleys in the heart of Islamic Cairo, behind the al-Hussein Mosque, in the neighborhood of Gamaliya, in December His father, a minor civil cervant, was highly traditional, and his mother was doting, his childhood lonely but unremarkable. After attending Islamic elementary schools and a secular high school, he entered Cairo University then King Faud 1 University and in graduated with a degree in philosophy.
He rememberes that period, which coincided with the anticolonial movement against the British, as the happiest of his life--as "the golden age of patriotism Until , all his works were written late at night, for he spent his days as a government bureaucrat: A private, timid man who married late in life, Mahfouz is a strong believer, a bit of a mystic, and a Fabian socialist of the most passionate sort. Mahfouz married a Christian woman at age 43 and had two daughters and no grandchildren.
He has never liked to travel, leaving Egypt some three times in his life. By the late s, social realism had become the defining characteristic of his work. His well-ordered, punctilious, conservative daily life was the antithesis of the world he created in his books. Note what he says in this book we are studying: And between the slogans and the truth is an abyss, into which we have all fallen and lost ourselves. He published his first novel in and since then has written thirty-two novels and thirteen collections of short stories.
This prolific writer's work appears to have gone through four stages. The first consisted of three novels based on the history of ancient Egypt, focusing on a cherished theme, the heroic struggle of the Egyptians and their patriotic Pharaohs to expel the Hysos, as foreign ruling invaders, from their country. Mahfouz' world view is similar to Sartre's social commitment and responsibility, a far cry from the nihilism of Islamic extremists. His work reveals the irony of a European intellectual woven through the ancient Arabic storytelling.
In the Swedish Academy gave him the Nobel Prize and wrote that "through works rich in nuance-- now clearsightedly realistic, now evocatively ambiguous, Mahfouz has formed an Arabic narrative art that applies to all mankind. Yet there is a robust sensuality, a deep reverence for Islam, a generous tolerance and the creation of world so ripe and vivid that you want to savor it forever. In there was a near-fatal assault on Mahfouz by Islamic terrorists, wonderfully described by Mary Anne Weaver in her book, A Portrait of Egypt when he was stabbed while sitting in his car.
He must keep armed guards around his apartment even now, in He says that even now he struggles to write every day: Perhaps they will succeed, or maybe come up with a new idea that will blossom eventually. Perhaps they will complete a short story, and perhaps nothing will happen at all. At 90 his eyes and ears are so impaired that a friend arrives every morning to read the headlines for an hour.
He gave his first interest payments from his Nobel Prize to Palestinian charities and now defends suicide bombers, a common position among Arab intellectuals: We have to remember that this is not a regular fight, a regular war where you can choose your target and fight only soldiers. This is a desperate situation where you blow yourself up and whoever happens to be on the site. At the end of the interview, after discussing death, he said: You give up your pleasures one by one until there is nothing left, and then you know it is time to go.
Again, some of these notes are from Wikipedia, which shows teachers go there too, which means that once we gather all the facts about a piece of literature, all our energy should go into reading the author's exact words, and forming our own interpretation, based on our feelings, knowledge, taste, and experience. Tahar Ben Jelloun Arabic: Professor at Tetouan and then in Casablanca.
He has lived and worked in France since He attends to lectures in social psychology and works as psychotherapist. He writes in French although his first language is Arabic. He writes for diverse reviews and in particular for Le Monde. In September , Tahar Ben Jelloun was awarded a special prize for "peace and friendship between peoples" at Lazio between Europe and the Mediterranean Festival.
Joyce Carol Oates born in had a working-class upbringing in upstate New York, attended Syracuse and the University of Wisconsin, taught in Canada where she began a prolific and highly successful writing career, culminating in her appointment at Princeton University as the Roger S. Berlind Distinguished Professor of Humanities. It reimagines the events of Chappaquiddick and the death of Mary Jo Kopechne through the victim's eyes.
Inspired by the interior monologues in Joyce's ULYSSES and other stream-of-consciousness techniques, Oates draws us into 26 year old Kelly Kelleher's distorted and damaged consciousness as she is caught in the slow, repetitious, haunting labyrinth of death. We are inundated with water at every turn and on every level, giving us a unique understanding of the process of dying with all its associated memories, fears and sensuality. Albert Camus and Existentialism I received a Master's degree in French Literature from the Sorbonne in Paris at a time when Sartre, Camus and the influence of existentialism on the theatre of the absurd was most in vogue, before the post-structuralists and postmodernists like Foucault, Derrida, Kristeva and Barthes had taken over Parisian intellectual life.
In fact my specialty was theatre of the absurd and the title of my thesis was "La Chute de la Tradition Theatrale," which involved an analysis of the aesthetic as well as philosophical distinctions between classical dramaturgy and theatre of the absurd such as Eugene Ionesco, Samuel Beckett and others, and how the media of television and film had forced an anti-naturalist trend on the theatre. I also performed in French theatre as I was completing my degree there. Albert Camus was born in Algeria to a poor, working class family but because of his talent and brilliance, received distinction in philosophy at the University and moved to Paris.
It is as much an indictment of capital punishment and society's social norms as it is an existentialist narrative, written in sparse, pristine prose.
My professors at the Sorbonne thought that he would have become more and more Catholic had he not been killed in a car accident at In fact, Sartre and Camus did split and dissociate from each other after the war. Both were prolific writers, spreading their energies across novels, short stories, essays, plays and expository books, which is one reason why Existentialism became a popular movement.
However, I feel that Sartre was more gifted as a dramatic and argumentative writer, and Camus as a novelist and lyrical essayist. It is simply the conversations of three newly deceased characters, coward Garcin, lesbian Inez, and baby-killer Estelle in hell, which is a Louis XIV drawing room. They are waiting to see when hell will begin until they finally realize that "Hell is other people. And here is the rub because each character wants and needs something from the others that they cannot give him or her.
NO EXIT is an excellent example of how interpersonal conflict is combusted into intense, riveting dramatic action. Every stage is carefully orchestrated until the door opens-- and no one can escape. There are unable to exercise their human freedom to choose. But the hell is in essence, of their own choosing, because they lack the strength of the existentialist hero who can become the sum of his actions.
Working only with dialogue, the bourgeois drawing room and a few limited props, Sartre is able to create a play that continues to be performed all over the world as a great work of theatre, as well as a mouthpiece for the chief tenets of Existentialism. The play was originally commissioned as something short and easy to take on tour, with no changes in scenery and only three actors.
Sartre was also asked to ensure that none of the three actors felt jealous of the other two by being forced to leave the stage or getting the best lines; consequently, he began to think in terms of a situation where three characters would be locked up together--first, in a cell during an air raid, and then in hell. In this inferno, "hell is other people," because Estelle sees no truth, Joseph hears no truth, and Inez speaks no good, according to former student Jerry Harman.
In contrast, THE PLAGUE uses methodical description and precise narration to suck us into another hell, that of a population avoiding and finally facing the ravages of the plague. This is a brilliant sociological study, of how characters work with and against each other to fight a common evil. Note how important descritive writing is to the art of the novel. Sartre often lacks the patience to describe as thoroughly as Camus, preferring to whip and hack and demolish his world with dramatic and philosophical conflict. Camus documents, describes and patiently recreates a world palatable to all our senses, a world that is often a metaphor for some philosophical injusitice or condition he would rather not attack directly through expository writing.
Yet he focuses on the community more than the unconscious exploration of the characters. Since you need to pick a character to play for the semester, you might enjoy playing any one of the characters in these two great works. For the close textual analysis assignment, pick passages from the two books to analyze to show the difference between dialogue and description aesthetically, the main difference between a play and a novel. Orhan Pamuk won the Nobel Prize in Literature in He is the recipient of numerous national and international literary awards.
Pamuk was born in Istanbul in and grew up in a wealthy yet declining bourgeois family, an experience he describes in passing in his novels The Black Book and Cevdet Bey and His Sons , as well as more thoroughly in his personal memoir Istanbul. He was educated at Robert College prep school in Istanbul and went on to study architecture at the Istanbul Technical University. He left the architecture school after three years, however, to become a full-time writer, and graduated from the Institute of Journalism at the University of Istanbul in From ages 22 to 30, Pamuk lived with his mother, writing his first novel and attempting to find a publisher.
On March 1 , , Pamuk married Aylin Turegen, a historian. This period also included a visiting fellowship at the University of Iowa. Pamuk returned to Istanbul. In , he and Aylin were divorced. In , after a period in which criminal charges had been pressed against him for his outspoken comments on the Armenian Genocide , Pamuk returned to the US to take up a position as a visiting professor at Columbia.
In the academic year Pamuk returned to Columbia once again to jointly teach comparative literature classes with Andreas Huyssen and David Damrosch. Pamuk is also currently a writer in residence at Bard College. He is at work on his next novel, The Museum of Innocence. Orhan Pamuk starte Dreamweaver d writing regularly in Popular success took a bit longer to come to Pamuk, but his novel Kara Kitap The Black Book became one of the most controversial and popular readings in Turkish literature , due to its complexity and richness.
Pamuk's fourth novel Yeni Hayat New Life , caused a sensation in Turkey upon its publication and became the fastest-selling book in Turkish history. By this time, Pamuk had also become a high-profile figure in Turkey, due to his support for Kurdish political rights. In , Pamuk was among a group of authors tried for writing essays that criticized Turkey's treatment of the Kurds.
The novel blends mystery, romance, and philosophical puzzles in a setting of 16th century Istanbul. It opens a window into the reign of Ottoman Sultan Murat III in nine snowy winter days of , inviting the reader to experience the tension between East and West from a breathlessly urgent perspective. I've spent 30 years writing fiction. For the first 10 years, I worried about money and no one asked how much money I made. The second decade I spent money and no one was asking about that. And I've spent the last 10 years with everyone expecting to hear how I spend the money, which I will not do.
Pamuk's 'Other Colours' - a collection of non-fiction and a story - was published in the UK in September His next novel is titled 'The Museum of Innocence'. Asked how personal his book Istanbul: And I was working twelve hours a day, just reading and working.
I thought if I were to be weak I would have a depression. But every day I would wake up and have a cold shower and sit down and remember and write, always paying attention to the beauty of the book. Honestly, I may have hurt my mother, my family. My father was dead, but my mother is still alive. Pamuk's books are characterized by a confusion or loss of identity brought on in part by the conflict between European and Islamic , or more generally Western and Eastern values.
They are often disturbing or unsettling, but include complex, intriguing plots and characters of great depth. His works are also redolent with discussion of and fascination with the creative arts, such as literature and painting. On October 12 , , the Swedish Academy announced that Orhan Pamuk had been awarded the Nobel Prize in literature for Istanbul , confounding pundits and oddsmakers who had made Syrian poet Ali Ahmad Said , known as Adunis, a favorite.
In the lecture he viewed the relations between Eastern and Western Civilizations in an allegorical upper text which covers his relationship with his father. What literature needs most to tell and investigate today are humanity's basic fears: Whenever I am confronted by such sentiments, and by the irrational, overstated language in which they are usually expressed, I know they touch on a darkness inside me. We have often witnessed peoples, societies and nations outside the Western world — and I can identify with them easily — succumbing to fears that sometimes lead them to commit stupidities, all because of their fears of humiliation and their sensitivities.
I also know that in the West — a world with which I can identify with the same ease — nations and peoples taking an excessive pride in their wealth, and in their having brought us the Renaissance, the Enlightenment, and Modernism, have, from time to time, succumbed to a self-satisfaction that is almost as stupid. In , lawyers of two Turkish professional associations brought criminal charges against Pamuk after the author made a statement regarding the mass killings of Armenians and Kurds in Anatolia.
He has subsequently stated his intent was to draw attention to freedom of expression issues. The criminal charges against Pamuk resulted from remarks he made during an interview in February with the Swiss publication Das Magazin , a weekly supplement to a number of Swiss daily newspapers: In the interview, Pamuk stated, "Thirty thousand Kurds, and a million Armenians were killed in these lands and nobody dares to talk about it. Pamuk has said that after the Swiss interview was published, he was subjected to a hate campaign that forced him to flee the country.
In an interview with BBC News, he said that he wanted to defend freedom of speech , which was Turkey's only hope for coming to terms with its history: But we have to be able to talk about the past. In June , Turkey introduced a new penal code including Article , which states: In October, after the prosecution had begun, Pamuk reiterated his views in a speech given during an award ceremony in Germany: Because Pamuk was charged under an ex post facto law , Turkish law required that his prosecution be approved by the Ministry of Justice.
A few minutes after Pamuk's trial started on 16 December, the judge found that this approval had not yet been received and suspended the proceedings. On December 29 , , Turkish state prosecutors dropped the charge that Pamuk insulted Turkey's armed forces, although the charge of "insulting Turkishness" remained. The charges against Pamuk caused an international outcry and led to questions in some circles about Turkey's proposed entry into the European Union. On 1 December, Amnesty International released a statement calling for Article to be repealed and for Pamuk and six other people awaiting trial under the act to be freed.
In a review of Snow in The Atlantic , Christopher Hitchens complained that "from reading Snow one might easily conclude that all the Armenians of Anatolia had decided for some reason to pick up and depart en masse, leaving their ancestral properties for tourists to gawk at. On January 22 , , the Justice Ministry refused to issue an approval of the prosecution, saying that they had no authority to open a case against Pamuk under the new penal code.
The announcement occurred in a week when the EU was scheduled to begin a review of the Turkish justice system. EU enlargement commissioner Olli Rehn welcomed the dropping of charges, saying 'This is obviously good news for Mr.
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Pamuk, but it's also good news for freedom of expression in Turkey. Reuters quoted an unnamed diplomat as saying, "It is good the case has apparently been dropped, but the justice ministry never took a clear position or gave any sign of trying to defend Pamuk. In April , on the BBC's Hardtalk program, Pamuk stated that his remarks regarding the Armenian massacres were meant to draw attention to freedom of expression issues in Turkey rather than to the massacres themselves. Pamuk himself gave the closing address.
In January Pamuk was assigned guards along with other Turks who had been put on trial in relation to Article This was in response to the murder of editor Hrant Dink who had been tried under the same law and to the threats by Yasin Hayal. Since, he may have left Turkey for the US. Orhan signed my copy of Snow at Bard College, north of Poughkeepsie, where he gave a workshop in the fall of Since I don't drive a car, I had to hitchhike from Poughkeepsie to Bard, over thirty miles, and was picked up by a man with Alzheimer's who has lost his way.
We both enjoyed a long evening with Orhan. Orhan's discipline impressed me most: As a former painter, he has an extraordinary sense of visual detail. This technique is as ancient as Bedouin storytelling. Using such female authors as Jane Austen and Emily and Charlotte Bronte , she examines women and their struggles as artists, their position in literary history and need for independence. She also invents a female counterpart of William Shakespeare , a sister named Judith to at times sarcastically get her point across. Woolf proved to be an innovative and influential 20th Century author.
In some of her novels she moves away from the use of plot and structure to employ stream-of-consciousness to emphasise the psychological aspects of her characters. Themes in her works include gender relations, class hierarchy and the consequences of war. Woolf was among the founders of the Modernist movement which also includes T. The effects of bi-polar disorder at times caused Woolf protracted periods of convalescence, withdrawing from her busy social life, distressed that she could not focus long enough to read or write. The subject of suicide enters her stories and essays at times and she disagreed with the perception that it is an act of cowardice and sin.
When Virginia was not depressed she worked intensely for long hours at a time. During her life and since her death she has been the subject of much debate and discussion surrounding the sexual abuse she suffered at the hands of her half-brother, her mental health issues and sexual orientation. Also, her pacifist political views in line with Bloomsbury caused controversy. From Three Guineas ;. Ramsay in To The Lighthouse In Virginia, Vanessa and their brothers traveled to Europe, where Thoby contracted typhoid fever and died from in Back in England the Bloomsbury Group was flourishing, their home a meeting place for writers, scholars and artists including Clive Bell, artist and art critic, who Vanessa married They would not stay together for long.
After his third proposal, Virginia finally married left-wing political journalist, author and editor Leonard Woolf on 10 August They would have no children. In when World War I broke out they were living in Richmond and Woolf was working on her first novel The Voyage Out a satirical coming-of-age story;. Leonard and Virginia would themselves get into the publishing business, together founding the Hogarth Press in Night and Day was followed by her short story collection Monday or Tuesday and essays in The Common Reader To The Lighthouse was followed by Orlando: A Biography ;.
One of her more popular novels, it was adapted to the screen in In they received word that their London home had been destroyed. Leonard as usual was ever vigilant to the onset of the next major depressive episode in his wife; she would get migraine headaches and lay sleepless at night. However, he and her doctor, who had seen her the day before, would never intuit that her next one was to be her last.
Virginia Woolf died on 28 March when she drowned herself in the River Ouse near their home in Sussex, by putting rocks in her coat pockets. She had left two similar suicide notes, one possibly written a few days earlier before an unsuccessful attempt. The one addressed to Leonard read in part;. After her death, Leonard set to the task of editing her vast collection of correspondence, journals, and unpublished works and also wrote an autobiography.
He died in A biography 2 vols, London: Every season is likeable, and wet days and fine, red wine and white, company and solitude. So, in the name of health and sanity, let us not dwell on the end of the journey. The Waves , first published in , is Virginia Woolf 's most experimental novel. It consists of soliloquies spoken by the book's six characters: Also important is Percival, the seventh character, though readers never hear him speak through his own voice. The monologues that span the characters' lives are broken up by nine brief third-person interludes detailing a coastal scene at varying stages in a day from sunrise to sunset.
As the six characters or "voices" alternately speak, Woolf explores concepts of individuality, self, and community. Each character is distinct, yet together they compose a gestalt about a silent central consciousness. Bernard is a story-teller, always seeking some elusive and apt phrase; Louis is an outsider, who seeks acceptance and success some critics see aspects of T.
Eliot , whom Woolf knew well, in Louis ; Neville who may be partially based on another of Woolf's friends, Lytton Strachey desires love, seeking out a series of men, each of whom become the present object of his transcendent love; Jinny is a socialite, whose Weltanschauung corresponds to her physical, corporeal beauty; Susan flees the city, in preference for the countryside, where she grapples with the thrills and doubts of motherhood; and Rhoda is riddled with self-doubt and anxiety, always rejecting and indicting human compromise, always seeking out solitude as such, Rhoda echoes Shelley 's poem "The Question"; paraphrased: I shall gather my flowers and present them--O!
Percival is the god-like but morally flawed hero of the other six, who dies midway through the novel on an imperialist quest in British-dominated colonial India. Although Percival never speaks through a monologue of his own in The Waves , readers learn about him in detail as the other six characters repeatedly describe and reflect on him throughout the book. Similar in vein to another modernist work, James Joyce 's A Portrait of the Artist as a Young Man , the novel follows its six narrators from childhood through adulthood, a Bildungsroman.
The Waves obliterates traditional distinctions between prose and poetry, allowing the novel to flow between six not dissimilar interior monologues. The book similarly breaks down traditional boundaries between people, and Woolf herself wrote in her Diary that the six were not meant to be separate "characters" at all, but rather facets of consciousness illuminating a sense of continuity. Even the name "novel" may not accurately describe the complex form of The Waves. Woolf herself called it not a novel but a "playpoem.
Bernard, Rhoda, Neville, Susan, Louis and Jinny awake and reveal, in a stream of conscience perceptive mode, what they see and hear. It is a secret known only to those that live here and those we choose to show. Each doorway is a gateway to another world born of magic. Each of these worlds like your own draws on the power of the crystal.
These worlds and the crystal hold the key to the balance. What do you think of Alba? Don't forget to leave a review if you like it. Any suggestions for what happens in future episodes are very welcome. This is a rewrite of the first chapter, I hope I have caught the mistakes and it reads better now. Do let me know what you think by leaving a review. Just In All Stories: Story Story Writer Forum Community.
Following on from the end of series 5. Merlin meets Alba near the lake of Avalon. He discovers the truth about the triple Goddess and how part of her plans to destroy the world they have tried so hard to build. Can Merlin pay the necessary price for Arthur's life? There is a great evil waiting to be released and only the sorcerer and the king together can hope to defeat it. I do not own Merlin Merlin - Season 6 The Return of Arthur — Part 1 Chapter 1 - Avalon In a land of myth and a time of magic, the destiny of a great kingdom rests on the shoulders of a young man.
Chapter 1 - Avalon 2. Chapter 2 - Iseldir 3. Chapter 3 - The Crystal 4. Chapter 4 - After Camlann 5. Chapter 5 - The Sidhe 6. Chapter 6 - The Triple Goddess 7. Chapter 7 - Percival 8. Chapter 8 - Prince Belin 9. Chapter 9 - The White Goddess Chapter 10 - Camelot Chapter 11 - Aithusa's Cave Chapter 12 - A Cure Chapter 13 - Arthur's Return Chapter 14 - Gwen Chapter 15 - No More Lies Chapter 16 - The Round Table Chapter 17 - The Prophecy Chapter 18 - Percival Returns To Camelot Chapter 19 - Morgana Chapter 20 - Understanding The Prophecy Chapter 21 - The King Is Dead Chapter 22 - Gwaine Chapter 23 - The Messenger Chapter 24 - King Lot Chapter 25 - Iseldir In Camelot Chapter 26 - Merlin's Quest Chapter 27 - Blinded By Greed Chapter 28 - A Small Chance Chapter 30 - Gaius And Iseldir Chapter 31 - Morgana's Treasure Chapter 32 - Arthur Waits Chapter 33 - Messanger from Camlann Chapter 34 - The Crystal Cave Chapter 35 - Morgana's Plan Chapter 36 - Merlin Returns Chapter 37 - The Queen's Private Council Chapter 38 - Comfort in Food Chapter 39 - Freya in Camelot Chapter 40 - A Bossy Servant Chapter 41 - Lord Doran Chapter 42 - No One's Puppet Chapter 43 - Sigan's Tomb Chapter 44 - Cornelius Sigan Chapter 45 - Going Home Chapter 46 - To Kill the King Chapter 47 - Bandits Chapter 48 - Morgana Sends a Message Chapter Sorcerer King, High Priestess Chapter 50 - Galahad Chapter 51 - Ravens and Darkness Chapter 52 - A Meeting of Friends Chapter 53 - A Tearful Reunion Chapter 54 - Alvarr Chapter 55 - Return of the King Chapter 56 - Long Live the King Chapter 57 - A Wedding Gift Chapter 58 - Derric Chapter 59 - Morgana's Message Chapter 60 - Princess Mithian Chapter 61 - Percival and Galahad Chapter 62 - Court Sorcerer of Camelot Chapter 63 - To Catch a Traitor Chapter 64 - Kilgharrah Chapter 65 - Camelot Surrounded Chapter 66 - Death of a Traitor These were made real enough for me, though, and maybe we'll reverse engineer them using birds.
Either way, this was just the right blend of realism and fantasy that I needed as a 7th grader to captivate my interest and love of dinosaurs.
Now as an adult, things make more and less sense, but I am still amazed about how vividly I can experience this lost world. One person found this helpful 2 people found this helpful. Fairly predictable yet adventure enthusiasts would enjoy the discovery of the Lost World. The story would benefit from sketches of the discoveries in the lost world. Evolutionists would enjoy the proposed missing links to humans and other species. See all 1, reviews.
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