She only wished to prove to herself she was once more on a train going somewhere' A tender story of devotion, resentment and ennui from the Pulitzer Prize-winning writer.
There are basic problems, and if we can't solve them we should hold off on theorizing. To begin at the beginning, what was Father Flynn's "great wish" for the boy in "The Sisters"? The uncle thinks he knows, but is he right? Can we be sure? How? And how about the beginning and end of "An Encounter"? How do they fit together? What is the specific import to the boy in "Araby" of the shards of conversation between the salesgirl and the Britishers? Can we (or Eveline) be certain of Frank's motives in her story? If not, what relevance do they have? And how in A Portrait of the Artist as a Young Man do Stephen's use and understanding of art evolve? In what crucial respects do they fall short of the understanding a careful reader of the novel can attain? What in Ulysses does Buck Mulligan have in mind when he demands "twopence for a pint" (of what!)? And in what ways are Bloom's ruminations about things like "mity cheese" that "digests all but itself" and saltwater fish ("Why is it that [they] are not...") crucial to the novel? There are bigger questions. What roles do all the accidental occurrences play? Do they heighten or diminish causality and probability? What are the functions of allusion and stylistic experimentation? Is/are there any overriding significance/s to the whole? Is there a didactic component in Joyce's writing? If so, is the didactic element a flaw in his art? What is the relationship between art and instruction--in Joyce and in general? Is good didactic art a contradiction in terms? These latter questions are enticing, but to speculate, theorize, deconstruct, or decontextualize Joyce's works with regard to them without a firm understanding, and perhaps even answers to, the vital though sometimes seemingly trivial former questions is to abrogate critical responsibility and relinquish what one of the formative giants of the twentieth century has to say to us. When relevant, the former are almost always answerable, and the mundane answers, often surprising, are frequently crucial not only for answering the latter questions but for fresh insight into both Joyce's world and our own. By mapping routes to the revelations such mundane "facts" yield, The Cracked Lookingglass establishes a firm base for future interpretations of Joyce's stories from Dubliners through Ulysses. It approaches his works as "fictional histories," grounding its "examplary" readings in relationships among the underlying facts of Joyce's created worlds. The study presents both a method of inquiry and, as examples of its fruit, some of the ways in which the apparent undiscoverables of Joyce's fiction disclose new and indisputable insights into his characters and stories, and through them our world. The approach opens avenues of access to the depths of Dubliners; to the assessments of art, religion, and human relationships in A Portrait of the Artist as a Young Man; to the necessitous underpinnings of Joyce's experimentation in Ulysses, the ground and justification of his uses of "psychocasual chance," the "mythical method," and the seemingly gratuitous stylistic experiments that mirror our lives and suggest new directions for them.
One of the earliest, and still one of the most perceptive analyses of Katherine Anne Porter, it gives careful interpretation of the style and intent of Porter’s work from 1935 through the publication and critical reception of Ship of Fools.
The Cambridge Companion to Oscar Wilde offers an essential introduction to one of the theater's most important and enigmatic writers. Although a general overview, the volume also offers some of the latest thinking on the dramatist and his impact on the twentieth century. Part One places Wilde's work within the cultural and historical context of his time and includes an opening essay by Wilde's grandson, Merlin Holland. Part Two looks at Wilde's essential work as playwright and general writer. The third group of essays examines the themes and factors that shaped Wilde's work and includes Wilde and his view of the Victorian woman, Wilde's sexual identities, and interpreting Wilde on stage. The volume provides a detailed chronology of Wilde's work, a bibliography for further reading, and illustrations from important productions.
What is real? What can we know? How might we act? This book sets out to answer these fundamental philosophical questions in a radical and original theory of security for our times. Arguing that the concept of security in world politics has long been imprisoned by conservative thinking, Ken Booth explores security as a precious instrumental value which gives individuals and groups the opportunity to pursue the invention of humanity rather than live determined and diminished lives. Booth suggests that human society globally is facing a set of converging historical crises. He looks to critical social theory and radical international theory to develop a comprehensive framework for understanding the historical challenges facing global business-as-usual and for planning to reconstruct a more cosmopolitan future. Theory of World Security is a challenge both to well-established ways of thinking about security and alternative approaches within critical security studies.
A lushly imagined, sensual novel about memory, desire, and the power of storytelling, from a Booker Prize nominee. Geneviève is an outsider, raised in an orphanage, now living an isolated existence as a maid to the widowed Madame Patin in a small French village. A teller and collector of stories, she is entranced by Madame Patin's oft-told folktales, which mask cunning and doom beneath beauty. As Geneviève grows into a woman, her life becomes both more sensual and more dangerous. She flees her village home, escaping to another word-spinner, a poet who captivates women -- his mother, his mistress, his niece's governess, and, soon, Geneviève. The poet is kind, but he too is a collector of stories -- and sometimes of secrets beyond words. An exquisite, knowing, and irresistible novel, The Looking Glass introduces to an American audience "one of Britian's best novelists" (The Independent on Sunday).
A holistic approach to television criticism, this analytical companion to the popular show Fringe examines the dramas mythology and unveils its mysteries while exposing significant cultural issues addressed in each episode. With a strong basis in science fiction, Fringe has all of the archetypal characters and themes of the genre, from the covert mastermind and the mad scientist to dangerous advances in technology, parallel worlds, and man-made monsters. This guide explores how the show uses these elements to tap into a deeper understanding of the human experience. Less focused on individual episodes, this book is split into three parts, each discussing a broad element of the narrative experience of the first three seasons of this multilayered show.
We know that trauma can leave syndromes in its wake. But can the anticipation of violence be a form of violence as well? Tense Future argues that it can-that twentieth-century war technologies and practices, particularly the aerial bombing of population centers, introduced non-combatants to a coercive and traumatizing expectation. During wartime, civilians braced for the next raid; during peacetime they braced for the next war. The pre-traumatic stress they experienced permeates the century's public debates and cultural works. In a series of groundbreaking readings, Saint-Amour illustrates how air war prophets theorized the wounding power of anticipation, how archive theory changed course in war's shadow, and how speculative fiction conjured visions of a civilizational collapse that would end literacy itself. And in this book's central chapters, he shows us how Ford Madox Ford, Robert Musil, James Joyce, Virginia Woolf, and other interwar modernist writers faced the memory of one war and the prospect of another, some by pitting their fictions' encyclopedic scale and formal turbulence against total war, others by conceding war's inevitability while refusing to long for a politically regressive peace. Total war: a conflict that exempts no one, disregarding any difference between soldier and civilian. Tense Future forever alters our understanding of the concept of total war by tracing its emergence during the First World War, its incubation in air power theory between the wars, and above all its profound partiality. For total war, during most of the twentieth century, meant conflict between imperial nation states; it did not include the violence those states routinely visited on colonial subjects during peacetime. Tacking back and forth between metropole and colony, between world war and police action, Saint-Amour describes the interwar refashioning of a world system of violence-production, one that remains largely intact in our own moment of perpetual interwar.
Alzheimers & Dementia: Through the Looking Glass, explains in easy to understand nontechnical language the difference between Alzheimers and dementia; discusses issues like driving, hallucinations, delusions, bathing, respite, feeding tubes, hospice, guilt, sexuality, genetics, aging, warning signs, placement or home care, diagnosis, hospice, finding help, emotions and more. Sixty-six columns, and more, from the highly regarded All About Alzheimers feature written by the author and published monthly in Todays Senior Magazine are assembled here to help the family and caregiver through the demanding trials of living with someone who has Alzheimers. Few things are as frustrating and maddening as Alzheimers and caring for someone with the disease is uniquely different from other medical conditions. In time, the patient is unable to help in his own care, even to follow such simple instructions as stand up or sit down, creating a difficult situation for everyone. Perhaps you think when someone forgets, you just remind them; no one forgets their own children, how to eat, dress and use the bathroom! But they do! In this book you will learn the difference between your forgetting a word and remembering it later and the Alzheimers patient who forgets but cannot remember later because the memory is not just momentarily forgottenit no longer exists! If it does not exist, it cannot be recalled. Youll learn things you need to know that will seem counterintuitive and require changes in your normal responses. They are not always easy to use, but they can make life with this disease a bit easier for both the afflicted individuals and those who care for and love them. You will come to understand the basics of the illness, why such bizarre things happen, and how to react to unexpected and on-going problems without making things worse.
For many years Ireland has been a popular tourist destination and tourism has been one of the most significant social, economic and cultural forces in Irish society. Irish Tourism: Image, Culture and Identity engages with major national and international debates on contemporary tourism through cutting-edge research. The book explores the multi-faceted nature of this important phenomenon, drawing on current work in sociology, cultural studies, ethnography, and language studies. For those who theorise about tourism and those who make practical day-to-day decisions on tourism policy, Irish Tourism will provide invaluable insights into historical and contemporary tourist representations, practices and impacts. In addressing issues such as the relationship between the local and the global in tourist settings, the construction of tourist imagery and products, and the development of tourism policy, contributors to Irish Tourism offer an innovative and critical analysis of the impact of global tourism on a small country. This book will be indispensable reading for students and scholars in Tourism Studies and Irish Studies and will also be essential for students of sociology, cultural studies, geography, languages and anthropology.
In Joyce, Derrida, Lacan and the Trauma of History, Christine van Boheemen-Saaf examines the relationship between Joyce's postmodern textuality and the traumatic history of colonialism in Ireland. Joyce's influence on Lacanian psychoanalysis and Derrida's philosophy, Van Boheemen-Saaf suggests, ought to be viewed from a postcolonial perspective. She situates Joyce's writing as a practice of indirect 'witnessing' to a history that remains unspeakable. The loss of a natural relationship to language in Joyce calls for a new ethical dimension in the process of reading. The practice of reading becomes an act of empathy to what the text cannot express in words. In this way, she argues, Joyce's work functions as a material location for the inner voice of Irish cultural memory. This book engages with a wide range of contemporary critical theory and brings Joyce's work into dialogue with thinkers such as Zizek, Adorno, Lyotard, as well as feminism and postcolonial theory.
A girl takes care of her baby sister after their mother dies, willingly giving up her own dreams. A tale of self-sacrifice set in the Kentucky of the 1920s. By the author of Sarah Ellen, of which this is an expanded edition.