In his early career, Kenneth Millar, better known as Ross Macdonald, emulated the style of Dashiell Hammett and Raymond Chandler. By the 1960s he had established himself as a distinct voice in the hardboiled genre. In his Lew Archer series, he conveys the complexity of his characters and settings primarily by the use of metaphors. In his 1966 novel Black Money the device performs three functions. In the case of minor characters, the author uses metaphors to comment on Californian society. Concurrently, metaphors describing major characters allow him to develop their dramatic arcs, whereas the recurring elements of the leitmotif serve to demonstrate the narrating detective’s growing concerns with the ongoing investigation. Arguably, it was Macdonald’s use of metaphors that helped define his unique voice.
In his pioneering study of Grande Dame Guignol (also referred to as hag horror or psycho-biddy), a female-centric 1960s subgenre of horror film, Peter Shelley explains that the grande dame, a stock character in this form of cinematic expression, “may pine for a lost youth and glory, or she may be trapped by idealized memories of childhood, with a trauma that haunts her past” (8). Indeed, a typical Grande Dame Guignol female protagonist/antagonist (as these two roles often merge) usually deals with various kinds of traumatic experiences: loss of a child, domestic violence, childhood abuse, family conflicts or sudden end of career in the fickle artistic industry, etc. Unable to cope with her problems, but also incapable of facing the inevitable process of aging and dying, she gradually yields to mental and physical illnesses that further strengthen the trauma and lead to her social exclusion, making her life even more unbearable. Unsurprisingly, scholars such as Charles Derry choose to name psycho-biddies horrors of personality, drawing attention to the insightful psychological portrayal of their characters. Thus, it would be relevant and illuminating to discuss films such as Die! Die! My Darling! (1965) and Whoever Slew Auntie Roo? (1971) as narratives of trauma. This will be the main concern of my article.
“Murder.” (Reprinted from Nashville Gazette .) Louisville Daily Courier [Kentucky] 17 Mar. 1846: 3. Print.
“Nashville Murder.” Louisville Daily Courier [Kentucky] 19 Mar. 1846: 3. Print.
Paterson, Thomas V. The Extraordinary Public Proceedings of E. Z. C. Judson, Alias, Ned Buntline Against Thomas V. Paterson, for an Alledged Libel Contained in a Pamphlet Entitled “The Private Life, Public Career, and Real Character of That Odious Rascal Ned Buntline!!” New York, 1849. Archive.org . Web. 9 Aug. 2019.
Pond, Fred E. Life
and Reviews 11(6). 219-228.
Ellis, Albert. 2016. How to control your anxiety before it controls you . New York: Citadel Press Inc.
García-Rincón de Castro, César. 2006. Educar la mirada. Madrid: Narcea.
Hidalgo Nieto, Catalina. 2016. Hermenéutica y Argumentación: Aportes para la comprensión del diálogo intercultural. Estudios filológicos 54. 107-130.
Holloway-Freisen, Holly. 2016. Acculturation, Enculturation, Gender, and College Environment on Perceived Career Barriers Among Latino/a College Students. Journal of Career Development . 1
A. Dolgopolsky's Nostratic Dictionary and Afro-Asiatic (Semito-Hamitic)
The monumental comparative dictionary by Aharon Dolgopolsky (Prof. emer. of the University of Haifa), long awaited by many specialists interested in the long-range comparison of language families, is here at last, available online since spring 2008.1 What we have here is a life's work completing more than fifty years' research. The first online publication will soon be followed by a second revised edition. The present reviewer had the privilege in Haifa in December 2008 to be able to assist the author in reviewing the etymological entries with initial *m-.
The author is the internationally widely known doyen of this domain, which he established still in Moscow in the early 1960s together with the late Vladislav Illič-Svityč (1934-1966). Both of them were working initially and basically in the field of Indo-European comparative linguistics. Illič-Svityč was an expert on Balto-Slavonic accentology, while Dolgopolsky started his careeer as a researcher of Romance philology. But soon, both of them had become familiar with the results of Semito-Hamitic (recently called Afro-Asiatic after Greenberg), Kartvelian, Dravidian, Uralic, and Altaic historical linguistics. This had led them to a conviction, that has arisen independently in them, on the relationship of the six so-called Nostratic language families enumerated above (including Indo-European). Both scholars had naturally realized that Afro-Asiatic has the least elaborated and reliable phonological and lexical reconstruction2, whereas the proto-languages of the other five families had been uncomparably more clearly and coherently described or, at least (in the case of Altaic), approached. Not accidentally had both Moscovite scholars got to reconstructing two most problematic branches of Afro-Asiatic: Illič-Svityč chose Chadic3 and Dolgopolsky focused on Cushito-Omotic, where his fruitful research had yielded a number of fundamental publications4 until the end of his career in Moscow (1976)5, where he left behind an informal school of comparative linguistics with talanted promising pupils like Sergej Starostin (Old Chinese, Altaic, North Caucasian), Evgenij Helimskij (Uralic), and Olga Stolbova (Chadic). Dolgopolsky's pioneering Comparative-Historical Phonology of Cushitic Languages (Сравнительно-исторический словарь кушитских языков) from 1973 has been very frequently quoted even in Western works in spite of its being published in Russian. After 1976 in Haifa, Dolgopolsky has continued - beside Nostratic studies in general - first of all his comparative Afro-Asiatic research and publication activity devoted primarily to clarifying the regular consonant correspondences among the Afro-Asiatic branches6, which signifies where the priority task still lies in Nostratic. All these results have long raised Dolgopolsky - beside the late Igor' D'jakonov (1915-1999) of Leningrad (St. Petersbug) - to the rank of the highest authority in comparative-historical Afro-Asiatic linguistics of recent times. This is why I devoted in 2008 a Semito-Hamitic (Afro-Asiatic) Festschrift in his honour.7
Prof. Dolgopolsky's profound knowlegde of the lexical stocks involved and of the etymological problems in all language families examined by him can only be admired. My present paper cannot be a review stricto sensu of this gigantic accumulation and analysis of many thousands of pieces of linguistic data, let alone the allotted very minimal space. What I regard as most effective under the circumstances is to investigate at least through a few sample entries chosen at random how this magnificent etymological dictionary uses lexical data of the most obscure and scientifically neglected language family, namely Afro-Asiatic. Elsewhere, it might have been probably substantially easier and smoother to extract etymological information from the domains of other language families by far better equipped with reliable etymological lexicons, most of which can be safely regarded as standard tools. If we look at how autonomously Dolgopolsky handles e.g. Indo-European etymologies, we can deduce that he is much farther off than just quoting the relevant etymological sources even in these well-equipped domains.
Unfortunately, the objective circumstances are many times less favorable in the case of Proto-Afro-Asiatic, presumably the oldest one of all the known language families8, the parental language of Akkadian, Hebrew, Arabic, Egyptian etc., where we until now simply lack a comprehensive and high-quality comparative lexicon and a reliable lexical reconstruction.9 This is why partial results here are at the moment much more important than the very uncertain comparative dictionaries. Ever since I have known Dolgopolsky's Russian and English articles on Nostratic in general, I have eagerly observed how these - as a "side-effect" - contribute to our scanty knowledge about Afro-Asiatic lexical correspondences. To my mind, the language family of all Nostratic families where the quantitative progress in the inner comparative study of the lexicon has gained most from Illič-Svityč's and Dolgopolsky's Nostratic work is just the still obscure domain of Afro-Asiatic etymology, and vice versa: I have no doubt that modern Afro-Asiatic comparative research has received the strongest impulse from Nostratic linguistics in Moscow, suffice it to refer - beside Illič-Svityč and Dolgopolsky - to Stolbova, Militarev, and Blažek (who also belongs to the Moscow school), the most productive authors of comparative Afro-Asiatic in the recent decades.
The Nostratic Dictionary testifies to Dolgopolsky's significant research results contributing to Afro-Asiatic etymology, which is until now hindered by a number of objective circumstances: (1) even we ourselves in the Moscow school only have a general working hypothesis on the basic consonantal correspondences (esp. in the relationship of Proto-Semitic, Egyptian, and Proto-Berber), which have not yet been satisfactorily elaborated and thoroughly tested in all details (esp. in the least explored Omotic and Chadic daughter languages). (2) Secondly, it has always been - almost irrespectively of the individual authors (albeit in different degrees) - difficult in our etymological research, especially in the case of Semitic and Egyptian, to keep a balance between the philological background of our comparanda and their external parallels. Dolgopolsky has worked carefully in order to minimize these unavoidable negative effects. My comments to the following etymological entries that were selected at random mostly carry additional data, new cognates, which signifies the still unexploited immense treasure and possibilities in our domain. May this discussion gain new friends for Nostratic studies and Afro-Asiatic etymology!
The sons of famous men sometimes fail to succeed in life, particularly if they suffer parental neglect in their childhood and youth. Ira Daniel Aldridge is a case in point-a promising lad who in his formative years lacked sustained contact with his father, a celebrated touring black actor whose peripatetic career in the British Isles and later on the European continent kept him away from home for long periods. When the boy rebelled as a teenager, his father sent him abroad, forcing him to make his own way in the world. Ira Daniel settled in Australia, married, and had children, but he found it difficult to support a family. Eventually, he turned to crime and wound up spending many years in prison. The son of an absent father, he too became an absent father to his own sons, who also suffered as a consequence.
Inner Strength of Female Characters in Loitering with Intent and The Public Image by Muriel Spark
Women characters in Muriel Spark's novels are diverse, some strong and powerful, some weak and unable to make decisions. And there are characters who develop throughout the novel and learn from their own mistakes. From being passive, they gradually start acting and making their own choices. Loitering with Intent and The Public Image present women characters who go through metamorphosis, from being dependent on others into living their own lives and freeing themselves from former influences. Such kaleidoscopic change enables them not only to be able to finally make their own decisions but also to overcome many difficult situations threatening their future life.
Fleur Talbot, a heroine in Loitering with Intent, finds herself at a point in which she thinks that everything she cares for is lost. Chronically passive and naïve, she cannot imagine another way of being until she understands that she is being cheated, that her life will be ruined if she does not act. Everyone around her seems to be in conspiracy against her; only taking a firm stand and opposing her surrounding world can help. Fleur's life has become totally dependent on her ability to be strong and decisive. She knows that if she remains what she is, her career and prospects for the future will be lost, so she decides to prove her determination and her will to be finally happy. Her transformation into a powerful character saves her dignity and makes her a successful writer.
Annabel, a character in The Public Image is the same type of person as Fleur, as she lacks self-confidence and has no support from anybody, even her own husband. Muriel Spark, however, presents her as another example of a heroine who develops as the action progresses, able to evoke strength in herself when her situation seems hopeless. Annabel, at first treated as a puppet in the hands of other people, who use her image for their own benefit, shows that she is capable of anything by the book's end. When her career and reputation are threatened and her privacy invaded, she decides to leave the country. This requires both effort and sacrifice, as she has to leave behind everything she has worked for all her life, but this is the necessary price for her freedom.
The ability of both female characters to show so much determination reveals an inherent inner strength, and their weakness and vulnerability as just superficial. When the situation requires it, both Annabel and Fleur are ready to fight for their rights, for their freedom and self esteem, and they discover that they are indeed capable of changing their lives.
The sons of famous men sometimes fail to succeed in life, particularly if they suffer parental neglect in their childhood and youth. Ira Daniel Aldridge is a case in point-a promising lad who in his formative years lacked sustained contact with his father, a celebrated touring black actor whose peripatetic career in the British Isles and later on the European continent kept him away from home for long periods. When the boy rebelled as a teenager, his father sent him abroad, forcing him to make his own way in the world. Ira Daniel settled in Australia, married, and had children, but he found it difficult to support a family. Eventually he turned to crime and wound up spending many years in prison. The son of an absent father, he too became an absent father to his own sons, who also suffered as a consequence.
Ira Daniel’s story is not just a case study of a failed father-son relationship. It also presents us with an example of the hardships faced by migrants who move from one society to another in which they must struggle to fit in and survive. This is especially difficult for migrants who look different from most of those in the community they are entering, so this is a tale about strained race relations too. And it takes place in a penal colony where punishments were severe, even for those who committed petty offences. Ira Daniel tried at first to make an honest living, but finally, in desperation, he broke the law and ended up incarcerated in brutal conditions. He was a victim of his environment but also of his own inability to cope with the pressures of settling in a foreign land. Displacement drove him to fail.
This article is framed by a wider interest in how literary careers are made: what mechanisms other than the personal/biographical and the text-centred evaluations of scholars influence a writer’s choices in persisting in building a succession of works that are both varied and yet form a consistently recognizable “brand.”
Translation is one element in the wider network of “machinery” that makes modern literary publishing. It is a marker of success that might well keep authors going despite lack of sales or negative reviews at home. Translation rights can provide useful supplementary funds to sustain a writer’s output. Access to new markets overseas might also inspire interest in countries and topics other than their usual focus or the demands of their home market.
The Australian novelist and playwright Thomas Keneally achieved a critical regard for fictions of Australian history within a nationalist cultural resurgence, but to make a living as a writer he had to keep one eye on overseas markets as well. While his work on European topics has not always been celebrated at home, he has continued to write about them and to find readers in languages other than English.
Poland features in a number of Keneally’s books and is one of the leading sources of translation for his work. The article explores possible causes and effects around this fact, and surveys some reader responses from Poland. It notes the connections that Keneally’s Catholic background and activist sympathies allow to modern Polish history and assesses the central place of his Booker-winning Schindler’s Ark filmed as Schindler’s List.
The paper scrutinizes the literary output of George Moore with reference to the expectations of the new generation of Irish writers emerging at the beginning of the twentieth century. Although George Moore is considered to belong to the Anglo-Irish ascendancy writers, he began his writing career from dissociating himself from the literary achievements of his own social class. His infatuation with the ideals of the Gaelic League not only brought him back to Dublin, but also encouraged him to write short stories analogous to famous Ivan Turgenev’s The Sportsman’s Sketches. The idea of using a Russian writer as a role model went along with the Gaelic League advocating the reading of non-English European literature in search for inspiration. However the poet’s involvement in the public cause did not last long. His critical view on Ireland together with his uncompromising approach towards literature resulted in a final disillusionment with the movement. The paper focuses on this particular period of Moore’s life in order to show how this seemingly unfruitful cooperation became essential for the development of Irish literature in the twentieth century. The Untilled Field, though not translated into Irish, still marks the beginning of a new genre into Irish literature—a short story. More importantly, the collection served as a source of inspiration for Joyce’s Dubliners. These and other aspects of Moore’s literary life are supposed to draw attention to the complexity of the writer’s literary output and his underplayed role in the construction of the literary Irish identity.