Als deze gedachten niemand bevallen kunnen ze niet anders dan slecht zijn. Maar ik houd ze voor verachtelijk als ze iedereen bevallen.
Literature and Terrorism In an age of terror, how does literature help us transcend our reality, lend perspective to our confusion by pulling us into the past and other cultures, and give expression to our anguish and fear through catharsis? They survived it; so can we. In this course we will define terrorism the way the Arabs define it, as any organized violence, by an individual, group or state, legitimate or illegitimate, against a civilian population, either intentional or unintentional.
Black Water is both a personal and stylistic meditation on terror as well as an indirect indictment of the terror a powerful political leader has over an innocent civilian.
Sometimes real life provides so much terror that the reader hides in literature for escape, seeking fantasy, happy endings, funny, harmless stories that eschew the turmoil of an unlivable situation. No one can take too much of one thing.
When New Yorkers were coughing from the smoke and toxins downtown, they did not go to the movies to see sci fi representations of Manhattan blowing up. But literature is different from film because we can choose when and how often to put the book down.
Instead of watching a naturalistic representation, we recreate the story in our minds to excite, soothe or incite us.
Many of the writers we will study had personal experience of a world war, the holocaust, the Israeli checkpoints, prison for their writings or gender brutality such as clitorectomies. Some could not write for years afterwards; others wrote on toilet paper in prison. It is significant that terrorism demands a certain amount of intelligence in order to achieve its devastating effect.
I also believe that it is stultifying to repress critical reflection on difference to be politically correct. Not only does it make us oblivious to the richness of difference, but we also lose our sense of humor.
One of the most influential persons of the twentieth century was Albert Einstein, not only for his theories on relativity, but because he revolutionized the way humans perceive time and space in all domains from art and literature to atomic warfare.
No Exit is a good way to explore basic dramaturgy: In terms of content, it deals with the German occupation of France during world war II, and the Empire drawing room satirizes the stultifying life of the French bourgeoisie in contrast to the new Marxism Sartre probably misunderstood.
It is the most accessible introduction to the philosophy of existentialism, existence precedes essence, in contrast to the Cartesian saying, "I think, therefore I am. He popularized existentialism with sayings such as "I am therefore I think," "Man is nothing more than the sum of his actions," and "Hell is other people.
Both works are essential to an understanding of their times, and yet they transcend their times so that they speak to us now in the darkest moments of our war on terror. The Plague introduces us to the formal elements that make a good novel, the third person narrative that clinically but compassionately describes the struggles of Dr.
Rieux to help Oran survive the plague. Unlike drama, description and narration assume paramount importance as the world transforms from before plague, to plague, to post-plague. While No Exit is a battle of individuals, The Plague charts the growth, collapse and renewal of a community through a skillful, meticulous attention to description and narration, the chief elements of novel writing.
Each culture has different expectations regarding characters, plausibility, and levels of introspection, censorship, conformity to cultural values, as well as the kinesthetic thrust of the drama. Western dramatic structure is more linear, moving to that one big climax, while Arabic literature is recursive, with many climaxes.
American literature often wants "three-dimensional" characterization and transformation while Arabic literature can sometimes go for good versus evil.
Indian writers are often more diverse, layered, even chaotic than Arabic ones. Contemporary American audiences expect a higher degree of plausibility, unless dealing with science fiction.
Yet there is much cross cultural influence. And most significantly, Soul Mountain combines the reflective, vast space of pre-modern China with the effects of the repressive Communist regime and then a deconstructed narrator, an I, she, he, you, who plows through these mountains with the introspection of a French postmodern writer.
Perhaps that is one reason it won the Nobel Prize. What makes cultures different? History, geography, ethnicity, language. But adaptation and change occurs in response to the land, to the struggle for survival.
Arabs are desert peoples. In the desert the people see forever; their God is the sun, their enemy excessive dryness.
The vast mountains of China created a collective culture in contrast to the vast mountains of America where ambitious individuals forged a frontier through the wilderness, killing the indigenous people.
So as our cultures mix and mingle, delicious new concoctions of literature will be created. The point of this course is to preserve the distinctness, the diversity and the difference of cultural flavors, rather than looking at the more homogeneous products of American mass culture with which we are already familiar.
By studying the narratives of diverse people we come to an empathy and understanding for "the other," so that we are not trapped in that good versus evil, us versus them, binary crusade of many American politicians. Major Twentieth Century Writers is a course in cross-cultural communication as well as literary analysis.
Ask yourselves why members of some cultures seek solitude, whereas those of others feel sad or even incomplete if they are not continuously in the company of other people? Why do some cultures worship the Earth, whereas other molest it?
Why do some cultures seek material possession while other believe they are a hindrance to a peaceful life?The End of History and the Last Man is a book by Francis Fukuyama, expanding on his essay "The End of History?", published in the international affairs journal The National Interest.
In the book, Fukuyama argues that the advent [clarification needed] of Western liberal democracy may signal the endpoint of humanity's sociocultural evolution and the final form of human government.
The Cost of Rights: Why Liberty Depends on Taxes [Stephen Holmes, Cass R.
Sunstein] on regardbouddhiste.com *FREE* shipping on qualifying offers. To fight for your rights, or anyone else's, is not just to debate principles but to haggle over budgets. The simple insight that all legally enforceable rights cost money reminds us that freedom is not violated by a government that taxes and spends.
Envisioning the United Nations in the Twenty-first Century Proceedings of the Inaugural Symposium on the United Nations System in the Twenty-first Century. Benjamin Barber's Jihad Vs Mcworld - In Jihad vs.
McWorld, Benjamin Barber puts forth two opposing extremes of ideology, Jihad and McWorld. Quo Vadis, Humanity? In this post Cold War and postmodern age, we are asking serious questions regarding the preeminence of rigid ideologies, national boundaries, proprietary interests, technological utopias and naive, egalitarian demands in crafting the next global mesh.
The End of History and the Last Man is a book by Francis Fukuyama, expanding on his essay "The End of History?", published in the international affairs journal The National Interest. In the book, Fukuyama argues that the advent of Western liberal democracy may signal the endpoint of humanity's sociocultural evolution and the final form of human government.