Stable Meaning, the Perversion of Nature, and Discursive Communities in Alex La Guma's "The Lemon Orchard" South African writer Alex La Guma was an active member of his country's non-white liberation movement. One of the 156 people accused in the Treason Trial of 1956, La Guma wrote his first book, A Walk in the Night and Other Stories, in 1962 (Wade 15). "The Lemon Orchard," a story which appeared in this debut work, is a gripping piece about the horror and cruelty of racism. In the story, La Guma
power as a positive influence that is produced in communicative space runs contrary to Habermas’ original concept of power in his theory of communicative action where power is understood as a coercive force that has to be avoided in order for the discursive situation to prevail. As such, I believe that the introduction of communicative power and its close tie to ‘legitimate law’ and political system greatly reduces our critical ability with respect to political systems as exercised in liberal-democratic
vitality. Differently stated, nature functions as a cultural construct of anti-culture, providing an escape from the confines of culture in the sense of civilization, but does not entirely evade the conceptual framework inherent to the social, discursive formation of human ideas. This intermingling relationship between nature and culture is well illustrated in the example of urban parks. Parks are constructed as natural environments but literally and figuratively constructed by human cultural
(thus, real) but absent (or buried), and which makes the dominant "reality" possible but, at the same time, continuously undermines it. In The Way to Rainy Mountain, the patterned form brings about the two different realities: first, there is a discursive, or ideological reality, which separates legend from history and the personal from the cultural; second, there is a lived-way-of reality, in which legend, history, and the personal experience can never be separated. Along the journey to the
Icarus and the Myth of Deconstruction In all three texts, it is the act of analysis which seems to occupy the center of the discursive stage, and the act of analysis of the act of analysis which in some way disrupts that centrality. In the resulting asymmetrical, abyssal structure, no analysis -- including this one -- can intervene without transforming and repeating other elements in the sequence, which is not a stable sequence. Barbara Johnson "The Frame of Reference" The Critical Difference 1
Music, Truth, Profundity PART I 1. Theme One of my long-standing philosophical ‘worries’ is what I describe as a ‘cognitive dilemma’ in relation to musical communication. How can an art form which lacks a discursive element and addresses itself primarily and indeed immediately to the auditory sense, be discerned as conveying ‘truth’ or ‘profundity’? The power is amply attested — so much so that alone among the arts music occasionally figures as a ‘surrogate religion’. The pieces of this
Interpretations of Beowulf ‘s theme vary widely. Ian Duncan in “Epitaphs for Aeglaecan: Narrative Strife in Beowulf” states his interpretation for the main theme in the poem: Arguments for any interpretation of Beowulf have therefore described discursive configurations within the poem which have then been projected outside it to map, explicitly or otherwise, such a context of tradition, genre, ethos, Weltanschauung. The trouble is that the less aware the critic that this is his procedure, the more
Analysis of Birches The discursive blank-verse meditation "Birches" does not center on a continuously encountered and revealing nature scene; rather, it builds a mosaic of thoughts from fragments of memory and fantasy. Its vividness and genial, bittersweet speculation help make it one of Frost's most popular poems, and because its shifts of metaphor and tone invite varying interpretation it has also received much critical discussion, not always admiring. The poem moves back and forth between
theological paraphrase of its argument, to explicating the system of belief or thought behind the words. Meanwhile, relatively little attention has been paid to the working of the poetry itself, to the construction of the presumed meaning, in these "discursive" or "conceptual" passages. Seduced by the desire for a systematic argument, criticism has overestimated these passages' straightforwardness and largely neglected their ambiguity and indeterminacy. The seductive voice of argument – which is already
philosophical traditions, particularly in connection with the Buddhist concept of emptiness and void and the original Daoist answers to the problem. Methodological problems are mentioned and two ways of approaching the theme are proposed: the logically discursive and the meditative mystical one, with the two symbols of each, Uroboros and the open circle. The switch of consciousness is suggested as an essential condition for liberation of the Ego and its illusions. Rational logic as well as the sophisticated
On Feminism and Postmodernism It seems fitting that the 'marriage' of feminism and postmodernism is one fraught with both difference and argument. The fact that these disagreements occur within the realm of the intellectual undoubtedly puts a wry smile on the face of either party. While feminism and postmodernism share several characteristics, most notably the deconstruction of the masculinised western ideology, feminism chooses to place itself within the absolutism of the modernist movement
with her and their child. It is Dimmesdale who uses his rhetorical mastery to talk Hester into talking him into eloping. An analysis of his conversation with Hester in the forest in comparison with his sermons shows that he is using the same discursive strategy he employs to convince his parishioners that he is a sinless man. The Reverend Mister Arthur Dimmesdale is usually understood to be guilty of two sins, one of commission (his adultery with Hester) and one of omission (his
different perspectives and therefore, has many different meanings and contexts. While quantitative researchers work mostly with numerical data, qualitative researchers use mainly "non-numerical data such as observations, interviews, and other more discursive sources of information" (Gay & Airasian, 1999). Another difference between the two types of research is that where quantitative research seeks to find evidence which supports or does not support an existing hypothesis, "qualitative designs allow
lesbian is rendered monstrous in social discourse by her desire to ascend into the phallic privilege, connecting this in-between-ness as both a monstrous trait and a cybernetic one. Further, the transgender man (female-to-male) occupies a similar discursive space and provides us with a post-modern link to Frankenstein's creature, as both are surgically constructed men, a construction that, in the eyes of society, renders them monstrous (particularly for trans-men who can't pass). Frankenstein's creature
seek out, and investigate his wife and her ailments, which consequently permits him to deploy seemingly inexhaustible (medical, scientific) means for (re)formulating and (re)presenting the hysteric female--not only for the purpose of giving her discursive representation, but in order to "de-mystify" her mystery and reassure himself that she is, finally, calculable, harmless, and non-threatening. To speak of John in psychoanalytic terms, his preoccupation with his wife, her body, and her confinement
from all colonial taint" (95). This hope is idealistic, especially when evaluating the role that the English language plays in the lives of those who are colonized. Tiffin realizes this fact and views most post-colonial literature as a "counter-discursive" mode of expression that is highly involved in "challenging the notion of literary universality" (96). The most interesting challenge raised by this European universality is the fact that many post-colonial authors use English as the means
centres of interest: the re-education through suffering of Mr. Gradgrind, the exposure of Bounderby, the life and death of Stephen Blackpool, and the story of Sissy Jupe. There are present, in other words, all the potentialities of an expansive, discursive novel in the full Dickens manner. But they are not and could not be realised because of the limitation of length Dickens imposed upon himself. The novel was written as a weekly serial story to run through five months of his magazine, Household Words
strength while lying buried beneath the denotative surface of the poem. From the start, we suspect that the speaker has more sympathy than he admits for whatever it is "that doesn't love a wall." Frost establishes at the outset his speaker's discursive indirection. He combines the indefinite pronoun "something" with the loose expletive construction "there is" to evoke a ruminative vagueness even before raising the central subject of walls. A more straightforward character (like the Yankee farmer)
Discursive Essay on Racism Racism has existed for centuries, but during the last two hundred years hatred toward ethnic minorities or even majorities has fluctuated. Racism occurs all over the world, can happen to anyone and will always exist. There are three different forms of racism, open racism, violent racism and secret racism all express forms of hatred towards ethnic groups. These forms of racism, although different, all have the same main purpose, to promote hate towards ethnic groups
Discursive Essay on Abortion Abortion is the termination of a pregnancy. If a woman falls pregnant and she does not wish to go through with the pregnancy then she may choose to have an abortion. Abortion is a controversial issue, some people say it is ok to abort a baby but others are strongly against it. Sometimes people are against it because they believe it is wrong but some are against it because of their religion, their background and their up-bringing. People who are for abortion