By Anne Golomb Hoffman
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During this generally revised and up-to-date version, 168 alphabetically prepared articles supply finished therapy of the most subject matters and writers during this quarter of aesthetics. Written via in demand students protecting a wide-range of key issues in aesthetics and the philosophy of paintings beneficial properties revised and extended entries from the 1st version, in addition to new chapters on fresh advancements in aesthetics and a bigger variety of essays on non-Western considered paintings detailed to this version are six evaluate essays at the heritage of aesthetics within the West from antiquity to fashionable instances
The writer of Do Penguins Have Knees? solutions such questions as What does Barney Rubble do for a dwelling? Why does not glue get caught within the bottle? and Why do pharmacists paintings on raised structures? between others. 75,000 first printing. $75,000 first printing. travel.
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Knitting creates a number of loops of yarn, known as stitches, in a line or tube. Knitting has a number of energetic stitches at the needle at one time. Knitted cloth contains a couple of consecutive rows of interlocking loops. As every one row progresses, a newly created loop is pulled via a number of loops from the previous row, put on the gaining needle, and the loops from the past row are then pulled off the opposite needle.
Extra info for Between Exile and Return: S.Y. Agnon and the Drama of Writing
The machine's very literal inscription suggests a masochistic yielding to the power of the Father, and we may be tempted to read this as the Officer's longing for the Father. Then comes the joke, however: we witness the butchery of the Officer that is the outcome of his submission to the machine and his anticipation of enlightenment. The Officer's expectation goes awry. Far from achieving identity with writing through the experience of becoming text (a process suggesting self-immolation on the altar to the Father), the Officer ends up with a spike through his head and a blank stare of noncomprehension on his face.
Ps. 24:1]. In each of the four corners of the embroidery there is a square which contains the words: "'I have set the Lord always before me'" [Agnon 1970, 12; cf. Ps. 16:8]. On the opposite wall hangs a mirror. Within this highly emblematic structure, a drama ofthe gaze is enacted: When Miriam visits the bathhouse Raphael remains in the House of Study. When she returns home she dresses in fine clothes like a bride on her wedding, and stands before the mirror. [ ... ] and at that moment the thought enters her mind to make herself beautiful for her husband.
Kafka and Agnon situate representations of writing and inscription so as to allow the reader to experience and trace significant variations on a spectrum of possible relations to writing. I turn now to two stories, both originally published in 1919, that start from attention to representations of writing and dramas of inscription. As exotic as they may seem, "In the Penal Colony" and "Tale of the Scribe" are two stories of reading and writing, although, as we shall see, "reading" and "writing" are scarcely innocent processes.
Between Exile and Return: S.Y. Agnon and the Drama of Writing by Anne Golomb Hoffman