Conrad's Changes in Narrative Conception in the Manuscripts of Typhoon and Other Stories and Victory

PMLA ◽  
1949 ◽  
Vol 64 (5) ◽  
pp. 953-962
Author(s):  
H. T. Webster
Keyword(s):  
Creative Process ◽  
Full Scale ◽  
Personal Life ◽  
Total Recall ◽  
Narrative Art ◽  
Intimate Link

Joseph Conrad's Mss provide a curiously intimate link with the personal life of their author. Among other things, the reader may note that Conrad was a smoker, that he had had drawing lessons at some period in his life, that he was on occasion worried about money, and that he was not averse to a refreshing glass. But the greatest importance of his MSS is that they tempt surmises about his creative rather than his personal life. It is lucky that Mr. John Quinn and other collectors were not discouraged by the fact that the holographs were anything but fair copies. The MSS they have preserved contain a full scale of revision offering an unusual opportunity to observe how a narrative art came into being. Conrad says much in his letters of how slow and painful the creative process was for him. His MSS confirm this, not so much by the inordinate amount of revision as by the fact that they show little evidence of pages thrown away or of imaginative lungings. In Almayer's Folly and An Outcast of the Islands, they suggest an obstinate effort at total recall of scenes and situations that the author had either witnessed or believed he had witnessed. One feels that he was the slave as well as the master of his creations. When he put something on paper, it took on the objectivity of fact for him. He could serve such facts, but he could not alter them.

WHY DID AVVAKUM PLAY THE HOLY FOOL? AN АNALYSIS OF THE ARCHPRIEST AVVAKUM’S CREATIVE PROCESS IN WRITING HIS "LIFE"

2021 ◽  
pp. 13-39
Author(s):  
Priscilla Hunt ◽  
Keyword(s):  
Creative Process ◽  
Life Experience ◽  
Personal Life ◽  
Creative Evolution ◽  
Knowledge Of God ◽  
Experiential Approach ◽  
Holy Fool

The article studies the polemical orientation of the hagiographical Life of the Archpriest Avvakum, Written by Himself in relation to the author’s earlier works, The Answer of the Orthodox, and other texts that were included together with the Life in the Pustozersk Collection. An analysis of the creative evolution of Avvakum’s thought will demonstrate that the Life’s appeal to holy foolishness at its narrative climax was its strongest ideological weapon against the new Church elite (the Nikonians). This appeal gave rise to an unprecedented emphasis on the author’s personal life experience that was meant to be proof of the “theoretical” arguments against Nikonian rationalism in the The Answer to the Orthodox. As a demonstration of a mystical-experiential approach to knowledge of God, his dramatized holy foolishness justified his choice to present his own biography as a publicistic hagiographical narrative.

The Mocking Mermaid: Maps And Mapping In Kenneth Slessor’s Poetic Sequence The Atlas, Part Four

2015 ◽  
pp. 22-53
Author(s):  
Adele J. Haft
Keyword(s):  
Creative Process ◽  
Full Scale ◽  
The Other ◽  
The World

Midway through composing his five-poem sequence The Atlas (ca. 1930), the acclaimed Australian poet Kenneth Slessor suddenly wrote “Southerne Sea” in his poetry journal. He’d just chosen John Speed’s famous double-hemisphere map, A New and Accurat Map of the World (1651/1676), as the epithet of his fourth poem “Mermaids.” Unlike the cartographic epigraphs introducing the other poems, however, this map has little to do with “Mermaids,” which is a riotous romp through seas of fantastic creatures, and a paean to the maps that gave such creatures immortality. The map features a vast “Southerne Unknowne Land,” but no mythical beasts. And while it names “Southerne Sea” and “Mar del Zur,” neither “Mermaids” nor The Atlas mentions Australia or the Southern Sea. Moreover, Slessor’s sailors are “staring from maps in sweet and poisoned places,” yet what the poem describes are “portulano maps,” replete with compass roses and rhumb lines—features notably absent on A New and Accurat Map of the World. My paper, the fifth part of the first full-scale examination of Slessor’s ambitious but poorly understood sequence, retraces his creative process to reveal why he chose the so-called Speed map. In the process, it extricates the poem from what Slessor originally called “Lost Lands Mermaids” in his journal, details his debt to the ephemeral map catalogue in which he discovered his epigraph, and, finally, offers alternative cartographic representations for “Mermaids.” Among them, Norman Lindsay’s delightful frontispiece for Cuckooz Contrey (1932), the collection in which The Atlas debuted as the opening sequence. 

Imitation and Individuation

2019 ◽  
Vol 5 (1) ◽  
pp. 81-95
Author(s):  
Jagna Brudzińska ◽  
Keyword(s):  
Creative Process ◽  
Special Kind ◽  
Point Of View ◽  
Personal Life ◽  
Crucial Feature ◽  
Peculiar Form ◽  
Intersubjective Experience ◽  
Bodily Intentionality ◽  
Decisive Rule ◽  
Phenomenological Point

A crucial feature of our individual biography is grounded in our common corporeal structure. Our life begins with a strong bodily intertwining that has an essential biographical and existential meaning. To elucidate this pre-egological form of connection between subjects, I refer to a peculiar form of sympathetical experience which precedes the intersubjective experience proper. From the genetic phenomenological point of view, sympathetical experience is characterized by a prereflective form of intentionality, which I describe as trans-bodily intentionality, as well as by fusional dynamics realised through a special kind of immediate corporeal fantasy. Focusing on the individuation processes of personal life, I show to which degree trans-bodily intentional dynamics result in the dissolution of the subject’s centricity or at least in its fluidification. Such a fluidification, moreover, should be systematically understood as a condition of possibility for the very process of becoming a Self. In my contribution, I discuss to which degree the corporeal phantasy plays a decisive rule in the creative process of becoming a Self.

scholarly journals John Ogilby, Post-Roads, and the “Unmapped Savanna of Dumb Shades”: Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas, Part Two

2012 ◽  
pp. 27-66
Author(s):  
Adele Haft
Keyword(s):  
Seventeenth Century ◽  
Creative Process ◽  
Full Scale ◽  
The Other ◽  
Central Character ◽  
Place Names ◽  
England And Wales ◽  
British Publisher

Written by the acclaimed Australian poet Kenneth Slessor, “Post-roads” is the second poem of his sequence The Atlas and of his collection Cuckooz Contrey (1932), in which it debuted. Like the other four Atlas poems, “Post-roads” begins with a quote from a prominent seventeenth-century map-maker; in this case, John Ogilby (1600–1676)—the celebrated British publisher, surveyor, and cartographer. Slessor not only transformed Ogilby’s work (and portrait) into poetic images, but made Ogilby’s “tireless ghost” the central character of his poem. This article, part of the first full-scale examination of Slessor’s ambitious but poorly understood sequence, begins by reproducing the poem and tracing the poem’s development in Slessor’s poetry notebook. To reconstruct his creative process, it details the poet’s debt to the ephemeral catalogue of atlases and maps in which he discovered his title, epigraph, central character, and a possible source for the colorfully named coaches and carriages that conveyed passengers not only throughout London and Britain beginning in the early seventeenth century, but also throughout Australia from around 1800 to 1920. After comparing poet and cartographer, we consider the poem’s relationship to two of Ogilby’s atlases: the monumental Britannia (1675) and the posthumous, if far more accessible Traveller’s Guide (1699, 1712). Both reveal how Ogilby—even from the grave—helped passengers like the poem’s “yawning Fares” trace their routes. Finally, after offering reasons for Slessor’s choice of “Guildford” out of all the place-names along the roads through England and Wales, and proposing literary inspirations for “Post-roads,” the paper returns to Slessor’s hero/artist.

scholarly journals Creative Process as an Aesthetic Entity

2015 ◽  
Vol 7 (3) ◽  
pp. 84-97
Author(s):  
Alexander Vyacheslavovich Sveshnikov
Keyword(s):  
Creative Process ◽  
Full Scale ◽  
Negative Trend ◽  
Work Of Art

The author attempts to prove the idea that a work of art can be based on negative concepts damaging the general artistic content. The negative trend in this case is overcome by the form characterized by the projection of the creative act into the fabric of the work which allows to perceive it as a full-scale artistic phenomenon.

Models for Design

2016 ◽  
pp. 825-855 ◽  
Author(s):  
Michele Calvano
Keyword(s):  
Product Design ◽  
Design Process ◽  
Creative Process ◽  
Full Scale ◽  
Physical Models ◽  
The Other ◽  
Digital Model ◽  
Product Design Process

In this chapter, geometrical algorithms are illustrated to resolve problems present in the creative process when designing a product. If it is explicit and automated, the algorithm can serve as a useful tool during the product design process. The objective is to simplify the step between the digital and physical models and vice versa, which is typically a necessary alternation when creating products. Two important operational areas are illustrated. One is related to digitally representing the product. The other deals with resolving the continuous comparison between the digital and real models. The need to compare the two models is due to the designer's need to construct full-scale prototypes. It is important to maintain these initial physical prefigurations of the idea because they may be modified and can inform the continuously evolving digital model.

scholarly journals Midnight's grandchildren : adolescence in contemporary global literature

2016 ◽  
Author(s):  
◽  
Marissa Fugate
Keyword(s):  
Growing Up ◽  
The Novel ◽  
Global Literature ◽  
Narrative Art ◽  
Emerging Nations ◽  
Transitional State ◽  
History Of ◽  
Intimate Link ◽  
Definition Of ◽  
Literary Output

"Midnight's grandchildren : adolescence in contemporary global literature" assesses the trope of adolescence in contemporary global literature, as it is employed to describe and act as a metaphor for emerging nations. My inquiry reads against the prevailing idea of adolescence as a pejorative term indicating a transitional state, and argues for adolescence as an enduring and distinct realm of infinite possibility. I chose to investigate how this social information is delivered through narrative art, which has a long history of works on adolescence, such as the bildungsroman. Unfortunately, most narratives look specifically at how the adolescent grows up, or what happens while they are looking forward towards adulthood. These types of literature play a part in the intimate link between the accepted cultural definition of adolescence as a space to outgrow and the rhetoric used to discuss and ultimately exclude emerging nations from participation in the global community. The ramifications of reading adolescence as a transitory place that always begets maturity is a systematic marginalization of nations -- and associated literary output -- that do not fall into and comply with the expectations of late-stage global capitalism. One effect of this marginalization is an insistence that the emerging nation novel acknowledge its debt to the colonial "parent." I contend that the anxiety provoked by adolescent reproduction maps onto social anxiety about emerging nations. By re-imagining adolescence in the novel as a distinct plane of existence without the baggage of "growing up," I argue that it is possible to reimagine emerging nations on new terms that devalue and destabilize the current order.

scholarly journals Music of Razak Abdul Aziz: Preparing Chosen Solo and Collaborative Piano Works for Two Academic Recitals

2021 ◽  
Vol 20 ◽  
pp. 79-85
Author(s):  
Mohd Fairuz Zamani ◽  
◽  
Keyword(s):  
Creative Process ◽  
Doctoral Degree ◽  
Full Scale ◽  
Time Span ◽  
Collaborative Piano ◽  
Piano Works ◽  
Musical Compositions ◽  
Music Community ◽  
First Time

For the first time in history, full-scale performances on musical compositions by a Malaysian composer, Razak Abdul Aziz, were presented through two academic recitals—27 July 2019 and 6 February 2020—at Orchestra Hall, Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA). These recitals consisted of solo and collaborative piano works, performed by me and a team of music collaborators that were specifically selected for this purpose. Razak Abdul Aziz, who is still actively composing, spent most of his career life as an academic, first serving for Institut Teknologi MARA (ITM), then Universiti Sains Malaysia (USM) until his retirement in November 2019. Besides fulfilling the academic requirements set by Universiti Pendidikan Sultan Idris (UPSI) for my doctoral degree, I had chosen to perform works by this composer as he is generally known to the local music community as one of the earliest contemporary composers in the country (started composing in the 1980s). Yet, a full-scale performance of his works was long overdue, though he had the opportunities to have some of his works premiered and performed on local and international platforms as part of concert programmes. This artist project talks about the preparation I made for both recitals, briefly explaining the creative process I journeyed through and the challenges I faced during this time span, discussing each work I had selected for these academic recitals. These recitals could, perhaps, be the pioneers in studying and performing works by Razak Abdul Aziz, hoping to expand this effort to national and international levels.

Relation of Statistically Significant, Abnormal, and Typical WAIS-R VIQ-PIQ Discrepancies to Full Scale IQs

2000 ◽  
Vol 16 (2) ◽  
pp. 107-114 ◽  
Author(s):  
Louis M. Hsu ◽  
Judy Hayman ◽  
Judith Koch ◽  
Debbie Mandell
Keyword(s):  
Graphical Method ◽  
The United States ◽  
Full Scale ◽  
True Score ◽  
Absolute Value ◽  
Normative Population ◽  
The Us ◽  
The Mean ◽  
And Performance ◽  
Quadratic Models

Summary: In the United States' normative population for the WAIS-R, differences (Ds) between persons' verbal and performance IQs (VIQs and PIQs) tend to increase with an increase in full scale IQs (FSIQs). This suggests that norm-referenced interpretations of Ds should take FSIQs into account. Two new graphs are presented to facilitate this type of interpretation. One of these graphs estimates the mean of absolute values of D (called typical D) at each FSIQ level of the US normative population. The other graph estimates the absolute value of D that is exceeded only 5% of the time (called abnormal D) at each FSIQ level of this population. A graph for the identification of conventional “statistically significant Ds” (also called “reliable Ds”) is also presented. A reliable D is defined in the context of classical true score theory as an absolute D that is unlikely (p < .05) to be exceeded by a person whose true VIQ and PIQ are equal. As conventionally defined reliable Ds do not depend on the FSIQ. The graphs of typical and abnormal Ds are based on quadratic models of the relation of sizes of Ds to FSIQs. These models are generalizations of models described in Hsu (1996) . The new graphical method of identifying Abnormal Ds is compared to the conventional Payne-Jones method of identifying these Ds. Implications of the three juxtaposed graphs for the interpretation of VIQ-PIQ differences are discussed.

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