The World Displayed: William Fraser and his House on the Hill

2018 ◽  
pp. 111-138
Keyword(s):  
The World ◽  
The Hill

War, Labor, and Gasoline in “Carcassonne”

2019 ◽  
pp. 15-30
Author(s):  
Michael Zeitlin
Keyword(s):  
Great War ◽  
Personal Privacy ◽  
The World ◽  
The Hill ◽  
The Great War ◽  
Poetic Vision

The story's poetic vision of a young man who sees a horse has often been associated with Faulkner's personal privacy, a mysterious and opaque realm that Faulkner criticism has long attempted to penetrate. In this chapter,Michael Zeitlin reads the story's representation of privacy and poetic subjectivity as an "ideological reflex and echo," in Marx's phrase, of material and economic realities dominated by the Standard Oil Company.A young vagrant, a veteran aviator of the Great War, lies in his garret and dreams of "a buckskin pony with eyes like blue electricity and a mane like tangled fire, galloping up the hill and right off into the high heaven of the world."The Pegasus pony, the knight-aviator, the dream of soaring free from earth toward apotheosis-these motifs from Faulkner circa 1918-1927 all promise a transcendence that never fully arrives, ultimately yielding to the exigencies of the mundane, the immanent, the economic:earthbound labor, earthbound energy, earthbound modernity.

Poetosphere and mythopoetics of the estate in A.A. Blok’s dramatic poem “Song of Fate”

2020 ◽  
pp. 186-205
Author(s):  
Ekaterina V. Kuznetsova ◽  
Keyword(s):  
Russian Literature ◽  
Open Spaces ◽  
White House ◽  
Modern City ◽  
The Past ◽  
The World ◽  
The Creation ◽  
Xix Century ◽  
The Hill ◽  
As If

As it noted by the researchers, the “Song of fate” accumulates painful thoughts of A.A. Blok about the fate of Russia and about his personal fate associat ed with the past, present and future of the Motherland. In addition to the ideological problems raised in it, the poem is interesting in an attempt to escape from the specifics of historical and national-cultural realities through their symbolization, combining the plans of life and being. The white house with a garden on the hill, in which the action of the play begins and the return to which is implied at the end, incorporates the most important features of Russia as a cultural, natural and spiritual space. The world of the estate is opposed by the space of the modern city and the big world of Russian open spaces. However, the estate for Blok is Russia the same. Therefore, Elena, the keeper of the estate, and Faina, the personalization of the world element, are two parts of one whole, as if the projection of an ideal Russia. The plot of the “Song of fate”, accord ing to D.M. Magomedova, I.S. Prikhodko, etc., is an artistic realization of the Gnostic myth of the captive Sophia, the Soul of the world. The imposition of the Gnostic myth in the “Song of fate” on the entire existing in Russian literature of the XIX century poetosphere of the estate leads to the creation of the author’s myth about Russia, the transformation of poetosphere in the mythopoetics.

The Great Patriotic War in Soviet and Post-Soviet Collective Memory

2012 ◽  
Author(s):  
Roger D. Markwick
Keyword(s):  
World War Ii ◽  
Soviet Union ◽  
Collective Memory ◽  
Former Soviet Union ◽  
World War ◽  
The World ◽  
Great Patriotic War ◽  
State Of Mind ◽  
The Hill ◽  
Personal Trauma

World War II has never ended for the citizens of the former Soviet Union. Nearly 27 million Soviet citizens died in the course of what Joseph Stalin declared to be the Great Patriotic War, half of the total 55 million victims of the world war. The enduring personal trauma and grief that engulfed those who survived, despite the Red Army's victory over fascism, was not matched by Stalin's state of mind, which preferred to forget the war. Not until the ousting of Nikita S. Khrushchev in October 1964 by Leonid Brezhnev was official memory of the war really resurrected. This article elaborates a thesis about the place of World War II in Soviet and post-Soviet collective memory by illuminating the sources of the myth of the Great Patriotic War and the mechanisms by which it has been sustained and even amplified. It discusses perestroika, patriotism without communism, the fate of the wartime Young Communist heroine Zoya Kosmodemyanskaya, the battle for Victory Day, the return of ‘trophy’ art, the Hill of Prostrations, and Sovietism without socialism.

scholarly journals Land Use Activities and Their Effects on Soil Erosion on the Slopes of Kajulu Hills, Kisumu County, Kenya

2019 ◽  
Vol 11 (2) ◽  
pp. 68
Author(s):  
Otieno, J. ◽  
Otieno, A. C. ◽  
Tonui, K. W
Keyword(s):  
Land Use ◽  
Soil Erosion ◽  
Human Activities ◽  
World Wide ◽  
Arable Land ◽  
Mitigation Measures ◽  
Natural Phenomenon ◽  
Mountainous Regions ◽  
The World ◽  
The Hill

Soil erosion is a natural phenomenon, but human activities accelerate it between ten to forty times the natural occurrences. It therefore calls for mitigating measure to curb the effects of erosion since soils form at a slower rate than they are destroyed. A study on land use activities and their effects on soil erosion was conducted in the upland ecosystem in Kenya, Kajulu hills. The study assessed the effectiveness of the mitigation measures adopted by the residents to ease the effects erosion on the hill slopes. A sample size of 295 households out of 1600 households engaged in various mitigating practices was used. The study collected data on the magnitude of soil (kg) lost from the arable lands using collector ditch technique. The data were analyzed using frequency distribution tables and Man U-test. The result showed a double amount (1.198kg/m2) of soil lost on the arable land without mitigation measures as compared to plots under cut off ditches (0,615kg/m2) and vegetative strips (0.904kg/m2) with Man U=7. These findings were above the world wide estimation of soil erosion on arable mountainous regions which range between 1.3-40.kg/m2/year (13-40T/Ha/year) as it was based on one rainy season.

The Mexamerican

2017 ◽  
Author(s):  
Troy Rondinone
Keyword(s):  
Border Town ◽  
The World ◽  
The Hill

This chapter discusses the background of Gaspar “Indio” Ortega. Perhaps the oldest aphorism of boxing is that poverty breeds pugilists. This is certainly the case for Ortega. His story begins in the dusty border town of Tijuana, which sits perched on the edge of the wealthiest nation in the world. From atop the hill above his neighborhood of Colonia Morelos, Tijuana, a young Gaspar Benitez at midcentury could gaze out across the border and over the sprawling farmlands beyond and wonder what life was like in Los Estados Unidos. Gaspar developed an interest in boxing in his teens. In 1950 he turned pro; he was fourteen years old. In 1953 Indio met American manager Nick Corby who would change his life forever.

The Architecture of Evil: H. P. Lovecraft's ‘The Dreams in the Witch House’ and Shirley Jackson's The Haunting of Hill House

CounterText ◽  
2018 ◽  
Vol 4 (3) ◽  
pp. 406-423
Author(s):  
Ljubica Matek
Keyword(s):  
Literary Canon ◽  
Traditional Architecture ◽  
Use Of Space ◽  
The World ◽  
Concentric Circles ◽  
The Witch ◽  
The Hill

This paper proposes that H. P. Lovecraft's ‘The Dreams in the Witch House’ (1932) and Shirley Jackson's The Haunting of Hill House (1959) embody the Gothic idea of subversion through their use of space. Specifically, both texts are set in a house that is shaped according to a scale unknown and repulsive to humans, suggesting that the architecture of evil is out of scale literally and metaphorically. Walter Gilman's room in the Witch House is strangely shaped and represents a passage into a parallel world which Gilman, a mathematician firmly set into the world of scale, first believes to exist only in dreams. Similarly, the interior of the Hill House is off centre and disjointed. People get physically lost as the rooms are set in strange concentric circles which defy traditional architecture; more importantly, characters’ subjectivity is consumed and appropriated by the house. By depicting protagonists as scientists deeply invested in the research of the occult, both Jackson and Lovecraft juxtapose science, which is marked by taxonomies, systems, and scales, with entities and rituals that transcend scalable knowledge. As their projects fail, the perceived harmony and knowability of life is revealed as false. The collapse of scale in both texts unsettles the reader, as it suggests that evil refuses to comply and be contained within a specific human-designed system of measurement or value. With this, the texts confirm the Gothic genre's countercultural position within the literary canon.

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