Introductory Note to “Star Spangled Banner Stuff,” by Estelle Oldham (Faulkner)

Prospects ◽  
1997 ◽  
Vol 22 ◽  
pp. 379-417
Author(s):  
Judith L. Sensibar

On the 17th of november 1924, Estelle Oldham Franklin and her two young children made a sudden and unplanned departure from Shanghai on the T.K.K. Shinyo Maru. She was bound for Oxford, Mississippi. All evidence indicates that she had no intention of returning to her husband, Cornell. In her baggage, she carried longhand versions of a novel and the short stories that she had written during the past three years. Among these manuscripts was “Star Spangled Banner Stuff.” In the trans-Pacific mail to her was the announcement of William Faulkner's first book of poems, The Marble Faun, which he had ordered sent earlier that month.

2018 ◽  
Vol 15 (4) ◽  
pp. 532-552 ◽  
Author(s):  
Ana Cristina Mendes

The process of screen adaptation is an act of ventriloquism insofar as it gives voice to contemporary anxieties and desires through its trans-temporal use of a source text. Screen adaptations that propose to negotiate meanings about the past, particularly a conflicted past, are acts of ‘trans-temporal ventriloquism’: they adapt and reinscribe pre-existing source texts to animate contemporary concerns and anxieties. I focus on the acts of trans-temporal ventriloquism in Ian Iqbal Rashid's Surviving Sabu (1998), a postcolonial, turn-of-the-twenty-first century short film that adapts Zoltan and Alexander Korda's film The Jungle Book (1942), itself an adaptation of Rudyard Kipling's collection of short stories by the same name. Surviving Sabu is about the survival and appropriation of orientalist films as a means of self-expression in a postcolonial present. Inherent in this is the idea of cinema as a potentially redemptive force that can help to balance global power inequalities. Surviving Sabu's return to The Jungle Book becomes a means both of tracing the genealogy of specific orientalist discourses and for ventriloquising contemporary concerns. This article demonstrates how trans-temporal ventriloquism becomes a strategy of political intervention that enables the film-maker to take ownership over existing media and narratives. My argument examines Surviving Sabu as an exemplar of cultural studies of the 1980s and 1990s: a postcolonial remediation built on fantasy and desire, used as a strategy of writing within rather than back to empire.


Author(s):  
Novi Diah Haryanti

Abstract: This study aims to look at narrative patterns in the collection of short stories "Karaban Snow Dance" (TSK). From the fifteen short stories, the researchers took five main stories, namely the Karaban Snow Dance (Tarian Salju Karaban), The Fall of a Leaf (Gugurnya Sehelai Daun),  Canting Kinanti Song (Tembang Canting Kinanti), Jagoan Men Arrived (Lelaki Jagoan Tiba), and Origami Pigeon (Merpati Origami). Of the five short stories, environmental themes and honesty appear most often. The place setting depicted shows the environment that is close to the author or according to the author's origin. The main characters in the four short stories are children, only one short story Male Hero Tiban (Lelaki Jagoan Tiban/LJK) who uses adult takoh as the main character. The child leaders in LJK only appear in the past stories of the main characters. The five short stories do not show a picture of whole parents (father and mother). The warm relationship between mother and child appears clearly, in contrast to the father-child relationship that is almost negligent. The five short stories also represent how children become heroes for their family, friends, and environment.Abstrak: Penelitian ini bertujuan untuk melihat pola narasi pada kumpulan cerpen Tarian Salju Karaban (TSK). Dari limabelas cerpen yang ada, peneliti mengambil lima cerpen utama yakni “Tarian Salju Karaban”, “Gugurnya Sehelai Daun”, “Tembang Canting Kinanti”, “Lelaki Jagoan Tiba”, dan “Merpati Origami”. Kelima cerpen menampilkan tema lingkungan dan kejujuran. Latar tempat yang digambarkan memperlihatkan lingkuangan yang dekat dengan penulis atau sesuai dengan asal usul penulis. Tokoh utama dalam keempat cerpen tersebut ialah anak-anak, hanya satu cerpen “Lelaki Jagoan Tiban” (LJK) yang menggunakan takoh dewasa sebagai tokoh utama. Tokoh anak dalam LJK hanya muncul dalam cerita masa lalu tokoh utama. Kelima cerpen tersebut tidak memperlihatkan gambaran orangtua utuh (ayah dan ibu). Relasi yang hangat antara ibu dan anak muncul dengan jelas, berbeda dengan relasi bapak-anak yang nyaris alpa. Kelima  cerpen tersebut juga merepresentasikan bagaimana anak-anak menjadi pahlawan bagi keluarga, sahabat, dan lingkungannya.  


2011 ◽  
Vol 366 (1567) ◽  
pp. 1179-1187 ◽  
Author(s):  
Paul L. Harris ◽  
Kathleen H. Corriveau

Young children readily act on information from adults, setting aside their own prior convictions and even continuing to trust informants who make claims that are manifestly false. Such credulity is consistent with a long-standing philosophical and scientific conception of young children as prone to indiscriminate trust. Against this conception, we argue that children trust some informants more than others. In particular, they use two major heuristics. First, they keep track of the history of potential informants. Faced with conflicting claims, they endorse claims made by someone who has provided reliable care or reliable information in the past. Second, they monitor the cultural standing of potential informants. Faced with conflicting claims, children endorse claims made by someone who belongs to a consensus and whose behaviour abides by, rather than deviating from, the norms of their group. The first heuristic is likely to promote receptivity to information offered by familiar caregivers, whereas the second heuristic is likely to promote a broader receptivity to informants from the same culture.


1983 ◽  
Vol 10 (1) ◽  
pp. 151-166 ◽  
Author(s):  
Brian P. Ackerman

ABSTRACTThis study determined whether young children are sensitive to the contextual influence of previous discourse on judgements of the adequacy of referential communications. Four- and six-year-old children were read short stories containing terminal referential communications that were either ambiguous or informative relative to a perceptual display of candidate-referential objects. Contextual information was given in the story prior to the terminal communication that was irrelevant to the ambiguous communications or that made these communications functionally informative. The subjects were required to say whether the listener in the story could identify one unique referent. The results showed that the judgements of both groups of children were sensitive to the discourse context of the communications. The children discriminated between the functionally informative and ambiguous communications.


1997 ◽  
Vol 87 (2) ◽  
pp. 66-69 ◽  
Author(s):  
A Glockenberg ◽  
E Sobel ◽  
JF Noël

Nonossifying fibroma is a benign, lytic lesion that occurs in young children and adolescents. Radiographically, the lesion is multilocular and sharply demarcated. It often occurs at the metaphyseal region of long bones of the lower extremity and is usually eccentrically located. Four cases of nonossifying fibroma occurring during the past 7 years are presented with a review of the literature.


2010 ◽  
Vol 8 ◽  
pp. 23 ◽  
Author(s):  
Aitor Ibarrola-Armendáriz

This article examines the representation of a violent and traumatizing past in Edwidge Danticat’s The Dew Breaker (2004), a collection of short stories that depicts the effects of a torturer’s atrocious crimes on the lives of his victims and their descendants. The contribution argues that this work of fiction by the Haitian-American writer is structured upon the principle that traumatic experiences can only become intelligible – and, therefore, “representable” – by considering the severe psychical wounds and scars they leave on the victims. These scars habitually take the form of paranoia, nightmares, ghostly presences, schizophrenia, and “dead spots” that have a very difficult time finding their place in the protagonists’ consciousness and language. In spite of the fragmented and discontinuous character of these representations, the writer manages to unveil the kind of psychological and social dysfunctions that often surface when people have not fully accepted or assimilated aspects of the past that keep itching in their unconscious. However, despite the prevailingly bleak tone of the stories, Danticat still leaves some room for hope and recovery, as many of the victims find ways to come to terms with and overcome those individual and collective dysfunctions.


2019 ◽  
Vol 17 ◽  
pp. 103
Author(s):  
Jesús Escobar Sevilla

The object of this study is to explore the relation between identity and space in Jhumpa Lahiri’s collection of short stories Interpreter of Maladies (1999). I will gauge how subjects adjust to their environments and to which means they resort to conserve, negate meaning. It appears that through the perusal of border consciousness subjects negotiate their identities, which leads them to understand the Other and, by extension, themselves. In fact, as the sense of belonging operates on the multi-layered and deterritorialised location of home, I will thus illustrate that whilst some subjects are hindered by forces of dislocation, cultural hybridity, others reassert a sense of transnational belonging in a third space. I shall include an introductory note on the theoretical framework and a section on food adding to the more detailed literature discussion of identity negotiation at stake.


PEDIATRICS ◽  
1969 ◽  
Vol 43 (5) ◽  
pp. 906-907
Author(s):  
J. C. Lagos

In the past 2 months we have seen five young children with signs and symptoms of dilantin intoxication manifested in the form of ataxia, nystagmus, and drowsiness. The intoxication in all cases was iatrogenic and resulted from the use of the suspension form of the drug. In one case it was due to a mistake on the part of the mother (teaspoons were given instead of milliliters). After reduction of the dosage of dilantin on its withdrawal and replacement by another anticonvulsant, all signs and symptoms disappeared in 24-78 hours.


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