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farm.” 11 This was the Pent Farm, rented by Ford and sublet to Conrad in the fall of 1898. It was a place that Conrad enjoyed immensely and that provided him with exactly the atmosphere and climate needed to keep in check the gout which plagued him throughout his life. It was a quiet place, not
Life,” the editors brought about in 2003 yet another turn of the Christian Century , now with the motto, “ Thinking Critically, Living Faithfully. ” 2 This phrase invokes 2 Timothy 2.11 (“It is a faithful saying: For if we be dead with him, we shall also live with him,” King James Bible ) and
within culture and by political forces. The conceit here is unexpected: this is a descent from an idea of God to an idea of ordinary life. It occurs when God’s once-dominant aides are seen to return (in the five aphoristic sentences) as individuals who now abandon being ‘rank toadies of the Almighty
or little against Marcel Proust as a person, but he did have something against a number of aspects in his work. He de- tested Proust’s rationally explicative psychological considerations and was averse to his fascination for the decadent Paris Belle Epoque sa- lon life. For instance, Breton in turn
of the so-called Lost Generation can therefore be characterized as queer in that it opposes a “reproductive temporality” which “create[s] longevity as the most desirable future, applaud[s] the pursuit of long life (under any circumstances), and pathologize[s] modes of living that show little or no
ignorance being invoked in the examples that follow, a wilful or else willed ignorance which relates more to life-knowledge (experience) than to book-knowledge (erudition). These characters consider themselves not just unschooled but unworldly, unsophisticated, artless. They find themselves at sea among
Jean Stein” 272 In 1956, as well as throughout his life and career, William Faulkner spoke of his novel The Sound and the Fury in a highly emotional yet ambiguous manner. Initially unsuccessful following its publication in 1929, his fourth novel later became one of the author’s most acclaimed and
able to tell them apart—original from copy, living from life-like. The third thesis in particular strikes a familiar cord. As must be obvious to any reader of posthuman myths, narratives about robots, clones or cyborgs, the thematic exploration and dramatisation of tragic passions is an all but
of things, through commodities, then it is not surprising that these things should come to resemble people, and to assume a life of their own.” 37 By this reading, animism and its opposite (de-animation or alienation) must be regarded as symptoms of a degraded reality—the boundary between the living
nowhere. The ship was associated with mobility, not least because it travels the ocean, an ever-changing element on which no human can ever hope to rest or create a permanent abode. These associations are not wrong, but they are incomplete. Marine life has other valuable dimensions, a life determined by