The Fall of the Patriarchs

2017 ◽  
Author(s):  
Jennifer Harford Vargas
Keyword(s):  
Second Generation ◽  
Character Traits ◽  
The Novel ◽  
Theatrical Production ◽  
Cuban American ◽  
Freedom Fighters ◽  
Similar Character ◽  
The Revolution

This chapter examines the figure of the patriarch as dictator, analyzing how Cristina García’s King of Cuba interrogates the two main characters’ heteropatriarchal and hypermasculinist hero narratives. They are depicted as foil characters whose many similar character traits foil their imaginations of themselves as polar opposites and reveals their similar investments in the regime of heteropatriarchy; at the same time, the novel foils both characters’ desires to die heroically, thereby demythologizing the celebratory narratives of the revolution and the freedom fighters that have dominated in Cuba and in Miami, respectively. It further demonstrate how the novel incorporates notes, vignettes, and theatrical production to create a resolver aesthetic that captures the creative forms of survival and strategic negotiation of characters who survive amid scarcity on the island. The chapter ends by focusing on marginalized, defiant second-generation Cuban American daughters of the conservative exile generation who are artist figures so as to illuminate an alternative articulation of revolution and art in the service of decolonial critique.

Postcolonial Identities in Dinaw Mengestu’s Literary Chronotope

2021 ◽  
Vol 2 (2) ◽  
pp. 43-68
Author(s):  
Alice Mogire ◽  
◽  
Justus Makokha ◽  
Oscar Macharia
Keyword(s):  
Critical Discussion ◽  
The Novel ◽  
Central Concern ◽  
Time Space ◽  
Gayatri Spivak ◽  
The Revolution

The critical discussion in this article is on postcolonial identities and it centres on Dinaw Mengestu's novels Children of the Revolution and All Our Names. It is contended that the term postcolonial identities is taken to mean the awareness of the subaltern as they try to negotiate who they are within the chronotopic hybridized African space in the postcolonial context. In the epigraph above, Gayatri Spivak describes the culturally oppressed, the subaltern, as having neither antiquity nor ability for speech due to the milieu of colonial production in which they operate. Important for the study, history and speech happen in time-space. Therefore, the identities of the subaltern, which Spivak associates to history and speech, come into being in the novel through fusion of time-space indicators. Cued by Spivak’s unique assertion, how Mengestu’s Children of the Revolution and All Our Names address themselves to postcolonial identities through fusion of time-space indicators is the central concern of this paper.

scholarly journals Sympathizing with Social Justice: Poetry of Invitation and Generation

2018 ◽  
Vol 3 (1) ◽  
pp. 7-29 ◽  
Author(s):  
Sean Wiebe ◽  
Pauline Sameshima
Keyword(s):  
Social Justice ◽  
Vietnam War ◽  
The Novel ◽  
Critical Question ◽  
The Vietnam War ◽  
The Revolution

In this paper, we use Sameshima’s Parallaxic Praxis Model to create collaborative poetry. The model invites juxtaposing articulations to generate alternative thinking. Similar to Daignault's (1992) notion of a “thinking maybe" space, we invite readers into what we call a liminal studio to theorize new understandings of social justice. In the data phases for this project, Viet Thanh Nguyen’s (2015) The Sympathizer served as a play object: The narrator, the sympathizer, is a captured communist spy in the aftermath of the Vietnam war, and his confession (the novel) considers a critical question for understanding social justice: “What is more important than independence and freedom?” Nguyen refuses simplistic overtures of social justice. Instead, readers are confronted with questions: “What do those who struggle against power do when they seize power? What does the revolutionary do when the revolution triumphs? Why do those who call for independence and freedom take away the independence and freedom of others?” (p. 178). These questions lead us to the frame of our own ten-part poem, the modern scholar under interrogation. Our poetry reframes social justice as the art of being/nothing, the something of nothingness being a language of resistance for a reimagined politics.

Yemen

2017 ◽  
Author(s):  
Mark Wagner
Keyword(s):  
Cultural Pluralism ◽  
Historical Novels ◽  
The Novel ◽  
Long Time ◽  
Novelistic Form ◽  
The Revolution

This chapter focuses on the development of the novel genre in Yemen. The novelistic form has taken a relatively long time to emerge in Yemen, but since 1992 Yemeni writers have produced a number of remarkable novels and the pace of publishing has increased. In addition, scholarly criticism of Yemeni fiction as a distinctive regional tradition has gotten well underway within the last decade. This chapter begins with an overview of the beginnings of the Yemeni novel before turning to works published from the revolution to unification (1962–1990), including historical novels. It also considers novels published from unification to the present, noting that Yemeni authors through the years have tackled a range of themes, including emigration, exile, racism, Muslim-Jewish relations, and cultural pluralism.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

“Murder, Robbery, Rape, Adultery, and Incest”

2017 ◽  
Author(s):  
Duncan Faherty
Keyword(s):  
National Development ◽  
Haitian Revolution ◽  
The Novel ◽  
The Future ◽  
Before And After ◽  
True Source ◽  
Cultural Mores ◽  
The Haitian Revolution ◽  
The Revolution

This essay considers how and why Federalist writers turned to the medium of fiction after the Revolution of 1800 in order to continue to express their concerns about the dangers of a Jeffersonian ascendency and the future of national development. By exploring the connections between rhetorical practices before and after Jefferson’s election, I argue that Federalist writers deployed the same tropes and metaphors to reflect on the loss of their authority despite the shift in genre from newspaper editorial to the novel form. Central to this practice was the use of reflections on the Haitian Revolution which served to represent the instabilities of plantation culture and its capacity to erode cultural mores. The essay focuses on Martha Meredith Read’s Margaretta (1807) as an emblematic example of the ways in which Federalist writers sought to deploy representations of planter decadence as a means of critiquing Jeffersonian power. Yet more than simply critiquing Jeffersonianism, Read also seeks to reframe the tenets of Federalism by advocating that properly ordered domestic spheres are the true source of cultural stability.

The Rainbow’s Generational Masochisms

2020 ◽  
pp. 99-122
Author(s):  
Jennifer Mitchell
Keyword(s):  
Second Generation ◽  
Interpersonal Interaction ◽  
The Novel ◽  
Three Generations ◽  
Marital Success ◽  
Husband And Wife

Husband and wife in D.H. Lawrence’s The Rainbow equally embrace and use masochism as a tool of intense interpersonal interaction. Lawrence approaches the first Brangwen generation, Tom and Lydia, with a subtle gesture to their capacity for masochism. As their daughter, Anna, marries Will, this second generation is marked by a keen consciousness of the need for mutual masochism in order to render their partnership successful. Anna and Will are extraordinarily well-matched and, in many ways, could be considered Lawrence’s marital ideal. In direct conversation with the flat and failed masochistic experimentation of their daughter, Ursula, Will and Anna’s relationship is telling in its dynamic reciprocity. This chapter traces the three generations in the novel and the ways in which Lawrence’s portrait of marital success is contingent upon the recognition of marriage as an already accepted, socially and legally sanctioned form of masochism.

scholarly journals Metabolic Side-Effects of the Novel Second-Generation Antipsychotic Drugs Asenapine and Iloperidone: A Comparison with Olanzapine

PLoS ONE ◽  
2013 ◽  
Vol 8 (1) ◽  
pp. e53459 ◽  
Author(s):  
Heidi N. Boyda ◽  
Ric M. Procyshyn ◽  
Catherine C. Y. Pang ◽  
Erin Hawkes ◽  
Daniel Wong ◽  
...  
Keyword(s):  
Side Effects ◽  
Antipsychotic Drugs ◽  
Second Generation ◽  
The Novel ◽  
Metabolic Side Effects ◽  
Second Generation Antipsychotic

scholarly journals On the Role of Gesinnung in Kant’s Ethics and Philosophy of Religion. Part II

2019 ◽  
Vol 38 (4) ◽  
Author(s):  
Alexei N. Krouglov
Keyword(s):  
Practical Reason ◽  
Critical Period ◽  
Free Expression ◽  
Human Being ◽  
The Novel ◽  
The World ◽  
The Will ◽  
Kant's Ethics ◽  
The Revolution

The sources of Kant’s term Gesinnung and a review of the problems of its translation into English were presented in the first part of this article; the second part examines the novel features that Kant brings to the interpretation of this concept in the critical period. In the Critique of Practical Reason these include the questions of manifestation of Gesinnung in the world, apprehended through the senses, the method of establishing and the culture of truly moral Gesinnung, as well as the problem of the immutability of Gesinnung in the progress towards the good. The new theses that appear in Religion within the Bounds of Bare Reason are Gesinnung as the internal subjective principle of maxims, on virtue as evidence of the presence of Gesinnung, on act as a manifestation of Gesinnung, on the unintelligibility of Gesinnung in its noumenal, suprasensible character, on the innateness of Gesinnung in the sense that it exists not in time, but in the form of its acceptance by free expression of the will, on the singleness of Gesinnung and its indivisibility into periods, on revolution in Gesinnung as distinct from empirical reform, on the creation of the new human being as distinct from the ancient one as a result of the revolution of Gesinnung, on the link between the revolution in Gesinnung and “conversion” or second birth. After discussing the problem of distinguishing the terms Gesinnung and Denkungsart in translation as well as a review of all the existing variants of translating Kant’s concept of Gesinnung into Russian (aspiration, inclination, intention, virtue, virtuousness, conviction, attitude, mode of thinking, thoughts, mood, disposition and umonastroenie), the author comes to the conclusion that the uniform variant umonastroenie is best suited for Russian translations of Kant’s works.

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