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Neon Genesis Evangelion - A Cruel Angel s Thesis (Full English
peter plagens essay Editor's note: The following essay was reprinted in Resource Library on cruel angel August 6, 2008 with permission of the author, Peter Plagens, and thesis, the Modern Art Museum of Fort Worth. If you have questions or comments regarding the text, or wish to obtain a copy of the exhibition catalogue from which it is excerpted, please contact the cruel angel thesis Modern Art Museum of Fort Worth, directly through either this phone number or web address: Drawings: The Fort Worth Art Center Museum. By Peter Plagens. T he current state of drawing in America, which this exhibition attempts to appraise: is essay complex and possibly indecipherable. First, because drawing is difficult to define, legalistically and because drawing requires relatively simple tools and modest working conditions, there are thousands of American draughtsmen, amateurs and professional, commercial and intellectual, reactionary and vanguard, making millions of drawings. An accurate cross-section would probably reveal the Sunday funnies, represented by, say, Al Capp, to be the omphalos of American drawing. Here, the target has been more or less narrowed to the fine or high art ( ars gratis artis ) which is significant in terms of the cruel angel english major present and near-future developments of American drawing and, by extension, American art.
Such a limitation does not, however, eliminate the cultural conditions which would throw an underground academy (a pedestrian illustration) in Islam Board, our midst: American art, even at its best, operates under a heavy dose of draughtsmanship and cruel angel, this draughtsmanship historically a combination of imported European beaux-arts and the fertile soil of the American outlook: The prejudice in favor of a 'mastered' academic draughtsmanship is somewhat indigenous to the American sensibility. It is yeats essays and introductions part of the Protestant work-ethic: if it's really good, it's got to be difficult and, if its difficult-looking, its got to thesis english be good.  This predisposition has endured all the way from Benjamin West to a mainstream artist like Andrew Wyeth (most likely considered by upper middle-class laymen, the consumate American draughtsman) moreover, it encompasses the vanguard: From the beginnings. of thesis sa wikang ingles American avant-garde, there has been a notable graphic tendency. Demuth, Marin, Hartley, O'Keeffe, were able draughtsmen whose linear idiosyncrasies formed their paintings. Amongst later generations, the graphic became the cruel thesis chief means of establishing the thesis reducing distinctive spaces which characterize mid-twentieth century art.  Probably the greatest American art movement, Abstract Expressionism, was by and large a re-revolution in drawing the angel thesis apotheosis of Cubist spatial ideas through Surrealist automatism, and its practitioners draughtsmen. Willem de Kooning, the Dutch-born penultimate abstract expressionist, typifies the drawing premise of our first home-grown vanguard style: De Kooning's art is my childhood traditional and available. He is very much an 'old master.' His work is full of the feel of thesis english 'real art,' of 'art that looks like art.' This is because he picked up and carried on thesis tungkol Picasso's Cubism and english, it is statement because de Kooning is by nature an old-fashioned figure-ground draughtsman, more so than any important artist since Manet.  As for the American outlook, we have always had a pragmatic bent; on cruel angel the frontier -- Kentucky or on the moon -- useful results are what count.
A labyrinthine and creaking nobility, ivory tower idealist philosophers, and esthetes are not a match for inventors, politicians and craftsmen. Artists are craftsmen to the degree they master a predetermined and clearly defined skill; the tungkol sa wikang important thing about craftsmanship in American art leading up to our modernist painting is that the practice of the cruel defined skill is thought to statement juvenile come first, that is before the illusive art quality manifests itself, rather than afterward, as windowdressing to brilliant esthetic ideas: They knew how to draw! The elementary vocabulary of these was so plainly learned in drawing. Thesis. Their mastery of putting down on paper form, space, light and atmosphere -- abstract or representation -- exercises its own spell and speaks of the pleasure that any great skill of hand and balancing, eye gives its possessor whether he be a juggler or a draughtsman.
But the very limitations of drawing make clear the point at which skill ends and angel thesis, something else occurs. The creative spirit infuses technical fluency in cover for jobs, a manner that is always mysterious but that comes nearer to revealing itself in a drawing because it is so obviously something other than skill, something that transforms those few lines and shadows into a work of art.  We have in this country experienced about fifty years of consciously vanguard art, that is angel art which believes that quality resides in something other than the mere recital of yeats and introductions venerated techniques, and which posits originality as at least a demi-esthetic virtue. Painting and sculpture as exhibition material, have gone beyond what was only angel thesis english hinted at before World War Two to the point where sculpture, with the aid of Board our first-rate and available technology, has looked upon the face of God and thesis, is levitating itself into reaction pure energy, light and space, while painting threatens to disappear altogether. Drawing, as exhibition material, and as a subject for art writing, has, however, lagged. This is not to say that good and/or extreme vanguard drawing has not been done, it is just that, for the most part, drawing has been looked upon by even progressive museum people and critics as a skill. One paints, but one knows how to draw. Painterliness and sculptural are properties (brushy, loose treatment in a picture and a carved or molded quality in an object), but draughtsmanship is, in all its semantic pomposity, all-inclusive, essential to english every good drawing. One who draws is not called, in honest awkwardness, a drawer, but a draughtsman, with all the word's academic baggage. And the artists who populate the established American drawing exhibitions cluster stylistically around Leonard Baskin, with occasional forays into early Larry Rivers and Robert Rauschenberg, clinging all the cover letter for jobs while to high horizons on the Golden Section, thick -- and -- thin thistle-like lines, and angel, murky tones of essay recollection my childhood angst grown hothouse in cruel english, college printmaking departments.
This is cover for jobs not guaranteed bad art, or even bad drawing, it is merely unadventurous and cloying. (There have been recent American drawing exhibitions to the contrary,  and the present exhibition is english certainly indebted to them.) Perhaps the mark-time on the part of these artists is attributable to essay recollection a feeling that, since drawing is materially simple and unglamorous, it requires the aura of cruel angel english tradition. Painting can possess grand scale, new kinds of paint with increased convenience and effect, and essay my childhood, a built-in feeling of permanence; sculpture has even more far-reaching methods than painting in addition to the status of being physically real. Thus painters and sculptors have, while going out on esthetic limbs, the reassurance of the greater presences of their media. The draughts man can, if the esthetic fails, fall back on very little. It is this exhibition's premise, nevertheless, that the same material limitations which, coupled with historical factors, seem to limit contemporary American drawing as a whole, enhance the cruel angel same art when it attempts vitality. This physical ordinariness has two assets: (1) the drawing has, self-evidently, no desire to compete with the world-at-large on the world's terms and (2) the drawing then becomes a relatively pure conveyor of statement reducing juvenile information. The drawing asks, rather quietly, to be met on its ground, a one-to-one contemplative relation in which billboards, jack-hammers, laser beams, Happenings, and angel thesis english, Techniscope 65 are, by mutual agreement, ruled out. And Introductions. This reduces the static in cruel angel thesis english, the mind of the viewer. Islam Discussion Board. By extension, the drawing has immediacy: it says what it has to cruel thesis say without benefit (or hinderance) of a technical spectacular. (True, part of what a large painting says is largeness and mass is thesis some of the message of a big sculpture, but a small drawing says smellness, by axiom, more economically.) Lastly, physical ordinariness in its limiting ability can be positive; since drawing is cruel thesis english not prone in incessant mechanical novelty, it is less often lead down the recollection garden path (as was, in my opinion. painting, with the shaped canvas).
Experiment is angel thesis english not art, discovery and invention are that and no more; newness is irrelevant to art, in thesis ingles, which there is change rather than progress.  Drawing is the most existential art form, in its continuing self-definition (What is drawing? It's what draughtsmen do; What's a draughtsman? Someone who makes drawings.) Seeing good, risky drawings is a profound thrill. The drawings in this exhibition exist not only against a continuing realization of what drawing is, but they are products, more or less, of the modernist art in general. Without attempting a precis of the past century's art, I would like to point out what I take to be two main currents carrying to cruel the present, what I choose to call the constructivist and surrealist mentalities: At one extreme this response may be characterized by an analytical. attitude to the formal, physical 'how' of the object, which we might regard as visually scientific. At the other extreme, the artist may respond to experiences of the world by creating images from his own resources  The surrealist is forever making a rational judgement in favor of the sa wikang ingles irrational: chance and intuition. The dogmatic issues (form v. content; color v, tonalities, separate media v, mixes, and english, realism v. abstraction) mean relatively little to him, although the implication is that he will opt for content, tonalities, mixes and some kind of illusionism.
Associations meaning a great deal, the world-at-large is invited into his art; but the objects in the world are, upon entry, charged, as they were for the medieval artist: . every aspect of the physical world demanded the cover for jobs full regard of the artist for each and object and every part of each object existed as expression of divine will.  In a way, we have a new medievalism, rebounding towards magic (expression of divine will) as an escape hatch from cruel angel thesis english a pervasive, death-dealing rationalism. The constructivist mentality tries to make a better metaphysic out of rationalism; it proceeds by steps, celebrating and discarding images by constantly testing them against both the world and and introductions amazon, esthetic idealism. Cruel. George Rickey, the kinetic/constructivist sculptor, has delineated the mainstays of the cover for jobs constructivist image: 1. The subject is the image itself. 2. The image is not associative. 3. The image is premediated and deliberate and precisely adjusted. 4. The choice of the angel thesis image is the thesis tungkol artist's free will; either geometry or intuition are permissable. 5. There is no illusionism, ego perspective and modeling. 6. Technique is not part of the image; there is no surface treatment. 7. There are no romantic motives or inferences.
8. There are no symbols. Cruel Angel Thesis. 9. The image has not been abstracted from Islam Discussion Board nature. 10. The image appears as though it had arrived independently of human thought.   I do not mean to suggest that the generic and overlapping labels of surrealist and constructivist enclose everything in cruel angel, current drawing, let alone the yeats amazon whole of modernist art.
Nor do I suggest that every drawing in the exhibition is indicative of angel thesis english either label, only statement that the exhibition, in angel thesis english, summary, states that there is a vital esthetic power in essay, physically ordinary, non-academic current American drawing and angel english, that part of this lies in the idea that any notion which is visual in nature in fact, possibly any notion at all [Italics mine] conceived in balancing reaction essay, the mind may be given concrete form through drawing. Concerning this premise there are, however, a few specifics which, short of hedging on any of the cruel thesis shows' faults, ought to be mentioned. For Jobs. In the selection, a lively drawing which does not seem to fit the premise raises the question of whether or not the premise ought not to be deducted from all available good drawings. This in cruel angel thesis, turn raises the point that a completely accurate exhibition would require disproportionate amounts of time and money. The show, then, has to essay recollection be, in the end, a felt entity, meant simply to be seen rather than inventoried. 1 My article, Marsden Hartley Revisited, ARTFORUM, May, 1969, p. 41. English. 2 Ashton, Dore, Contemporary American Drawing, Arts, April, 1965. 3 Bannard, Walter, Willem de Kooning's Retrospective at Discussion the Museum of Modern Art, ARTFORUM , April, 1969, p. 43. 4 Bauer, John, Portfolio of American Drawings, Art in America, No.4, 1961, p. Cruel Angel. 64. 5 American Drawings, Solomon R. Guggenheim Museum, New York, August, 1964. A Decade of American Drawings, 1955-1965, Whitney Museum of American Art, New York, April-June, 1965.
New York-Los Angeles: Drawings of the cover Sixties , University of Colorado, Boulder, and University of New Mexico Art Museum, June-August, 1967. 6 Rickey, George, Constructivism: Origins and Evolution , Georges Brazillier, New York, 1967, p. 77. 7 Collier, Graham, Form, Space and Vision , Prentice-Hall, Englewood Cliffs, New Jersey, 1967, p. 212. 8 Mendelowitz, Daniel, Drawing , Holt, Rinehart and Winston, New York, 1967, p. 100. 9 Rickey, op. cit., pp. 37-39. 10 Rickey also takes pains to point the cruel thesis english direction which these criteria have, in some cases, taken us: A further extension of Constructivist thought in cover for jobs, the last decade which appear sporadically and my implication in cruel thesis, the new tendency, and balancing reaction essay, more consciously elsewhere, is a resort to nature, but with a difference. Nature as landscape, still-life or portraiture is ignored; but as a great fount of physical phenomena, inexorable laws, and orderly relationships, is cruel english investigated by the artist and made the vehicle for his statement. Forces such as gravity, or energy such as light, serve as stimuli for the observer, supplanting those projects of the appearance of the natural world which formerly had made the face of art. Thus nature, as aerodynamics, mathematical relationships, probability, chance, or magnetic lines of yeats and introductions force is turned, by cruel english the artist's hand, to confront the cover for jobs observer. The artist himself then withdraws, sometimes covering his tracks by the use of an alter fabricator as his alter ego and a title which reads like a science textbook.
Ibid., p. Angel Thesis. 81. There is desire, especially in New York, to eliminate the esthetic object as we know it; which can be regarded partly as an extension of the essay recollection my childhood constructivist procedure, obeying Mr. Rickey's ten points precisely and going him one better in obliterating the image. Bruce Nauman, Walter de Maria, Doug Huebler, Joseph Kossuth and cruel, Eva Hesse deal in amazon, ideas (or concepts if you like) which, save to be pointed out at all, need no material form. Hueblers points, lines and cruel thesis, locations are theoretical, coming into being for us only as (in another realm) a movie starlet's decolletage, a polite hint at something absolutely fantastic. Huebler is a combination Parmahansa Yogananda and Scientologist, traversing the universe with his mind and giving us drawings as faint postcards from exotic vacations. Essays. Kossuth and cruel thesis english, de Maria consent to be more ordinary, playing simply with word-surface-image games. My Childhood. DeWain Valentine and Doug Wheeler, on the West Coast, slip closer to art, the cruel thesis english drawings being conceptual in the sense that they are blueprints for works which will need, in the long run, detailed working out, (If Wheeler's drawing happens to be beautiful, it is only a by-product of his over-all method: precise and, to use a beat-up word, elegant.) Valentine and Wheeler represent a kind of borderline on the most extremely immaterial (unphysical) position which edges back into Islam Discussion what we are accustomed to thesis english as art: static objects which have, according to perceivable rules or sensibilities, been balanced out. I mentioned this area of the new drawing first because it is, to me, the most potentially dangerous.
Interviewed on the televising of the Apollo 11 moonshot, Kurt Vonnegut, Jr. mentioned H. G. Wells prediction about the human race eventually coming to two distinct species, the essay my childhood flower-child like Aloi, loving but more or less stupid, and capable of only the barest subsistence, and the Morlocks, who lived below ground and ran the giant machinery which kept everything going: the engineer-types and the poet-types. Vonnegut said here we have artists, heretofore poet-types, willingly metamorphosizing into Morlocks. Defending the transition runs something like this: artists have for too long been content with a helpless flower-child existence, at best a sub-species of manual craftsmen and pedestrian romantics, taking (and giving) crumbs of the real world, instead of doing their twentieth century homework and gaining entrance to the real world. Moreover, the tail will eventually wag the dog. The scientific establishment, whose tools cannot, once discovered, be re-buried, will become -- the real world along with it -- as poetic as the artist will become scientific. This barn has been gone 'round before, and the artists know it, thus the english cynicism or tongue-in-cheekness. The Bauhaus had the same dream. These artists are wary, casting their projects on such a scale as to predicate an irreversible commitment from the establishment should the projects ever be completed at scale, or seeing to their constant immateriality, retaining the poetry of non-marketability.
E. Essay Recollection My Childhood. P. Butler's little drawing, Information Transfer, puts it nicely out of reach of anything but pure unparticularized, untrammeled thought: the information that this information transfers is that this is an information transfer. The term Minimal Art is an anathema to most artists working anywhere near the style, just as Gothic, Baroque, Fauve and Cubist were uncomfortable to angel their practitioners. Those who believe that less is more do not like to have their work labeled Less Art; I accept that view and admit Minimal only because, rightly or wrongly, the term has become accepted in consensus. Additionally, it is used here to enclose a dozen or more independent spirits (Dan Flavin, Robert Fried, Jerry Ballaine, Bob Mongold, Bob Ryman, Sol LeWitt, Bob Morris, Don Judd, Brice Marden and a few others) in the hope of pointing out essays and introductions a degree of physicality one step more intense than that of conceptual art. Cruel Thesis. No one, in these drawings, is working strictly with minimality, with the exception of Sol. LeWitt. LeWitt's drawing is an obvious drawing: two-dimensional in a traditional (indeed archetypal) medium, pencil, and dedicated to getting across, as simply as possible, a concrete, specific proposition.
In its own way-and you can argue the quality if you want -- it's like one of those tiny Rembrandt drawings done with beist ink and a brush. LeWitt, however, deals with art issues directly, not by Board implication: (9) true two-dimensionality (drawn on the wall, no paper, no frame), (2) draughtsmanship (the drawing was executed by others through plans drawn by LeWitt), and permanence of the object d'art (the drawing must either remain forever or be cleaned off; it is either priceless or valueless, no in-between). The Minimal drawings (Flavin, as usual, is difficult; his touching little drawing is a momento and a gift, and it is simply a rendering, but it doesn't seem to fit anyplace else) are constructivist and most of angel them are notes, plans or preliminaries for three-dimensional work. Most of them, toughminded and to yeats essays and introductions the point, are physically very ordinary (with the exception of Jerry Ballaine) and could, if the thesis english exhibition had been further limited, form the crux of its point about current drawing: that good drawing and draughtsmanship is bigger than dead birds and aquatint effects, that it can have, once removed from the tyranny of neo-Beaux-Arts-ism and preciousness, a solidity and dignity about itself which is, I think, especially American. These first two arbitrary groupings, conceptual and Minimal, constitute, in categories, the newness of the exhibition, those styles or areas little covered by previous drawing exhibitions. Since the emphasis is on un-draughtsmanship (a circuitous newness), the implication is that, in those kinds of drawings more familiar to us because their prototypes are at least ten years old, there still exists within the individual works a uniqueness. Howard Smagula frequently uses the precedents of Rauschenberg and Johns and the general history of German Dada; yet his drawing has its own authority, running an intricately structured perceptual line between form and content, between (concrete) poetry and drawing.
Sam Francis is a vertible old Master now, the image possessing a common denominator known to most of us; but his drawing is sa wikang ingles different, different to his existing body of cruel angel english work and different in terms of statement reducing juvenile drawing (specifically, whether it is a painting or a drawing; he calls it a drawing and I take his word. Ed Keinholz -- on the other hand, refers to his trade watercolors as paintings, even though they are more like certificates and regretfully, his word is cruel english definitive). The late John Altoon and letter, Robert Rauschenberg represent, together, a kind of late fifties-derived master drawing, that is, an esthetic which is cruel angel as fine as anything traditional drawing has to offer in the way of handling, balancing, complexity of thought and sheer style, but is also a kind of landmark from which much of the essay my childhood new drawing has sprung. Rauschenberg, whose art is angel thesis english wider-ranging and more physically ambitious, has been the greater influence; it is irrefutable that the drawings of Eugenia Butler and Douglas Huebler owe a tremendous amount to the clearing and thesis tungkol ingles, planting of angel thesis Rauschenberg, who acting in that gap between art and life led to an attention, not only to art (superformalism) and life (resurgence of Discussion Board content) but to the gap as well. John Altoon has left his mark in the form of a why not on the part of cruel angel thesis several West Coast artists: why not be terribly deft, why not plain and simple show off one's facility, why not be delicate, subtle, second-level and second-glance, and, most significantly, why not let the imagination -- form, content, associations, desires, everything -- meander? If a third major influence exists it would be Stella, who, in his painting about the process of structuring a painting, has given a boost to the whole systems outlook, which leads back into conceptual art and the demise of the object d'art. But Stella drawings, unlike Rauschenberg's, are only adjuncts to his paintings, like footnotes. Probably the most difficult connection to Discussion make in terms of anti-draughtsmanship (un-draughtsmanship), concerns the group of angel thesis drawings which are blantantly trompe l'oeil in recollection my childhood, premise. What is unique, in terms of angel english drawing (as opposed to simple choice of subject matter), about drawings which are exercises in thesis statement reducing juvenile, copying or approximation? (Included here are Vija Celmins' unitary views of the ocean, Ed Ruscha's illusions of ribbon-writing, Ken Price's cups, Gerald Gooch's repetitive human beings and on cruel english the borderline, William Wiley's interiors.) The common denominator is, I think, a curious deadpan, more honestly felt than Warhol's studied banality and Police Gazette romanticism. There may or may not be associative meanings (certainly there are associations) in Celmins' painstakingly rendered waves, Price's colored crayon objects and Ruscha's gunpowder words, but there is a unique formal quality, a love of craft (simply, what's fun to draw) coupled with a knowingness about mass media and tungkol sa wikang, the art world which synthesizes into cruel thesis a detached realism, a realism so fine that what is not real becomes the lynch-pin. The drawing's significance lies on its reversing itself; it is aware of this and thus avoids simple illusionism. Balancing Chemical Essay. (Another analogy to cruel thesis the moonshot.
While the rocket was on earth, it represented technology as the apex of human endeavor, our highest point, since, built on the knowledge of all the philosophers and all of the scientists, it was going to unchain us. Once the LEM landed on the lunar surface, technology became the base of the pyramid and any art would have to be built on the landings of thousands of Robinson-Crusoe-rockets. Somewhere in recollection, that quarter million miles, there was a flip-flop. Cruel Thesis English. Likewise, these drawings, in process, posit accurate, photo-like representation as the apex; once completed, however, it is the stray line, the glistening of the graphite surface which reaches us as the art-quality. Somewhere between the reducing artist and us, there has been a reversal, and cruel thesis, the awareness of this probability is what separates these drawings from less self effacing realisms.
There is, strictly speaking, little Pop art in the exhibition. Oldenburg and Lichtenstein, charter member Pop artists, have lived through it and yeats essays, out of it, both particular brands of cruel Pop leading in different directions. Lichtenstein has gone from what looked like a one-joke cul-de-ac into, in range and intensity, one of the cover letter for jobs best formalist ouevres around. Oldenburg is a strange amalgam of facility (in the orthodox sense; he draws like a 17th century master) and surrealist mentality; he is cruel not as limited, as cute, as straight Pop would imply. Joe Goode, Mel Ramos, Walter Gabrielson and Robert Arneson owe something to chemical reaction the style, but are, respectively, too neutral, traditional, ideational, and painterly to cruel thesis english conform. Only Gilbert Shelton, Robert Crumb and cover for jobs, Ron Cobb, messengers from the underground, could be called Pop from the safety of the fact that their art is intended primarily for cruel angel thesis, popular media and popular consumption, rather than for galleries, museums and connoisseurs.
Finally, there is a primarily surrealist art -- in that it is supra-rational, hideously extended, associative beyond braking, and tungkol ingles, imagistically aggressive to the point of discomfort, at least visually. I am speaking of Michael Peters, Peter Saul, John Hunter and cruel angel english, David Folkman. About the author. Peter Plagens is a painter who's shown with the Nancy Hoffman Gallery in New York since 1974, and was also the staff art critic for Newsweek (1989-2003), where he is now Contributing Editor. He has received fellowships from the Discussion John Simon Guggenheim Foundation, the National Endowment for the Arts, and the National Arts Journalism Program. His paintings were the subject of a current retrospective first shown at the University of Southern California in Los Angeles; it traveled to Columbia College of Art in Chicago and The Butler Institute of American Art in Youngstown, Ohio.
Plagens is the angel english author of two books of art criticism -- Sunshine Muse: Art on the West Coast, 1945-70 and Moonlight Blues: An Artist's Art Criticism -- as well as a novel, Time for letter, Robo . He lives in New York City with his wife, the cruel thesis painter Laurie Fendrich. Resource Library editor's note. The above exhibition catalogue text was reprinted in Resource Library on August 6, 2008, with permission of the author, Peter Plagens, and the Modern Art Museum of Fort Worth. The permissions waere granted to TFAO on Augusst 6, 2008. Essay My Childhood. Mr.
Plagens' essay pertains to Drawings , which was on view at the Fort Worth Art Center Museum in 1969. Resource Library wishes to extend appreciation to Peter Plagens, author; Rick Floyd, Registrar of the thesis Modern Art Museum of Fort Worth; and Stacey Wittig for their help concerning permissions for reprinting the above text. Editor's note: RL readers may also enjoy: Read more articles and essays concerning this institutional source by visiting the sub-index page for letter, the Modern Art Museum of Fort Worth in Resource Library . Search Resource Library for thesis, thousands of articles and essays on American art. Copyright 2008 Traditional Fine Arts Organization, Inc. , an Arizona nonprofit corporation.
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SLiPStellenbosch Literary Project. UCT lecturer in English Hedley Twidle presents the work of his top three graduate students from a seminar he ran this year on writing professional review essays. Cruel English? In this, the first of cover a three-part feature, SLiPnet presents Twidle’s introductory thoughts on the review essay as a literary-critical form, followed by UCT graduate student Anneke Rautenbach’s review of Dana Snyman’s book, The Long Way Home . We discussed these questions during a recent seminar on (so-called) literary non-fiction at the University of cruel angel thesis Cape Town. The idea was to explore more varied, public and perhaps more lucrative modes of writing about literature than the research paper, or end-of-term assignment – both rather insipid terms for the kind of pieces that Honours and Masters students are required to produce. In bald economic terms, postgraduate study consists in paying someone to read your work (sometimes a couple of external examiners too) and there it ends. But what about getting paid, and so contributing to a wider dialogue, all without sacrificing intelligence, rigour and (if necessary) difficulty?
And how much self can one insert into an essayistic response to essays, a text before it becomes self-indulgent? A review generally supposes that the audience has not the read the book, and cruel angel english considers whether it is worth your (the reader’s) time and money. A review essay is less constrained by the need to judge, operating more at the level of an idea: The Problem with American Male Novelists, say, or Pakistan, or Post-Apartheid Crime Fiction. It may take its cues from the work in question – or (even better) a cluster of related works – but does not necessarily need to remain bound by them, or do them full justice. Cover Letter For Jobs? It is not really concerned whether you have or haven’t read them (in the New York Review of Books, it may even provide a digest of texts that you know you will never read).
In any case, the review essay should be worth reading in its own right – but then again, so should a good review. Still, the essay component allows it to travel more widely, in a way that is looser and more personal than an angel thesis english, academic article. In the seminar, we drew up a list of words that were to be banned from the review essay: discourse; intervention; problematise (instant fail); inscribe (or worse: reinscribe); grand narrative (should have been retired years ago); agency (not very common when I was a student, but now spreading like wildfire); interrogate (why are academics always wanting to thesis reducing juvenile, interrogate texts, as if they were in Guantanamo?) So did this mean that such terms were then compulsory in the research paper component of the course, asked one of the cruel angel english wits from Creative Writing? This last phrase is one that I want to interrogate and thesis problematise to the highest degree – it seems to imply that scholarly or academic writing cannot or should not be creative. So what does creativity consist of in scholarship? How can one avoid academic cliches, if you will, whether of diction, tone, subject or structure? How to cruel angel, stave off that sinking feeling when you can already anticipate, three lines in, all the conceptual moves that a dreary accredited article is going to make? The point of is not to take cheap shots at academia – certainly not in yeats and introductions amazon a country where anti-intellectualism is so rife.
But rather to cruel angel thesis, challenge literary scholars to make their work matter: to make it readable, engaged with the wider social body, critical (in the widest sense of that word), unignorable – and thesis tungkol sa wikang so less likely to be axed by administrators who look for every opportunity to fund the what one campaigner for cruel angel thesis english, the Humanities in Islam Discussion South Africa calls the STEM disciplines (Science, Technology, Engineering, Mathematics) at cruel angel thesis english, the expense of the NAIL disciplines (Narrative, Analysis, Interpretation, Literacy). Sa Wikang Ingles? See John Higgins in Business Day. Such weighty interventions aside, the extracurricular (or bonus disc) part of the course explored that wonderful category of texts where the act of angel thesis english literary criticism produces another work in thesis reducing juvenile its own right – examples of what David Shields calls the cruel thesis critical intelligence in the imaginative position. This is a spectrum of engagements with loved/hated literary predecessors that range from the gloriously immature ( Geoff Dyer’s, Out of Sheer Rage , in essays which he writes about failing to cruel angel english, write about D.H. Lawrence ) and frankly bizarre (Nicholson Baker’s obsessive-compulsive account of his relation to the work of John Updike, U I) to yeats essays amazon, the wryly serious (Janet Malcolm’s wonderful Reading Chekhov: A Critical Journey ) to the very serious indeed (W. G. Thesis English? Sebald’s, On the Natural History of Destruction , a mediation on the Allied bombing of Nazi Germany, and statement juvenile its literary repercussions). Very different in tone and approach, each of these share a sense of literature as something lived by and through: a quality that can be difficult to smuggle into what counts as part of a research output. English? But one should try nonetheless, for as Dyer asks (after disgustedly burning a Longman Critical Reader given to him by cover letter for jobs, someone who hears that he is working on Lawrence): How can you know anything about cruel thesis, literature if all you’ve done is read books? The review essays presented in ingles this feature, written by members of the english seminar, share this quality of liveliness and thesis statement reducing alertness to a world out there. They preserve (the privilege of the essay) a sense of immediacy and english personal response – or rather, responsiveness – that can be lost in the academic article which must pretend that it knows everything. The essay presented in this, the first part of this feature, is by Anneke Rautenbach, who reads Dana Snyman’s The Long Way Home with a little bit of help from Rian Malan (and Freud), enticing us towards a fascinating text (recently translated from Afrikaans) that is, as she puts it, part travelogue, part autobiography and, as is inevitable in South Africa, part national allegory; but also a kind of walkabout in and introductions amazon search of a home, a reverse nostalgia in search of a future.
Finding the Afrikaner’s Nkandla. The Long Way Home by Dana Snyman, Tafelberg, 2012. “Afrikaners must find their own Nkandla,” said Jacob Zuma in cruel angel thesis an interview with Beeld (February 2011). He was referring, of course, not to a physical location but a psychological home – “where he’s safe and has the freedom and confidence to live and express the things that are important to him. [. ] For example,” says Zuma, “I work in Cape Town and Pretoria, but then I want to go to Nkandla [in rural Kwazulu-Natal]. That’s where I belong. I feel at Islam Discussion, home when I’m there. Angel? I can do the indlamu [a traditional dance for men], I can speak isiZulu. ” This is the thesis reducing juvenile cut-out of an article Snyman finds among his father’s things after his death. What, he asks himself, could have been his father’s motivation for cruel, keeping the article? Did the retired dominee want him to happen upon Islam it, in his effort to prove to his son that even the Zulu president of the new regime believes that in South Africa, the Afrikaners are entitled to a sense of belonging? The Long Way Home (recently translated from the Afrikaans Hiervandaan ) is part travelogue, part autobiography and, as is inevitable in South Africa, part national allegory. Despite Snyman’s insistence that it was a personal project – “This book, like most, was written for cruel angel english, selfish reasons.
I wanted to explain the country and my place in it to myself” (175) – it also plays a role in continuing the narrative of the Afrikaner: the thesis juvenile Afrikaner in the new nation. By traversing the length of South Africa, Snyman seeks to cruel, answer whether this Nkandla, this psychological home, exists at all. From a physical journey comes an intense internal battle with his sense of identity in a country that is recollection my childhood becoming increasingly unfamiliar to him. I see tired old bakkies full of people, strugglers in scuffed shoes, beggars, queues outside government buildings, and angel I have no idea what these people’s lives are like. It’s making me feel like a stranger in my own country [. ] Sometimes I even feel out of place because of who I am: a white Afrikaner with a small-town upbringing.
I benefited from apartheid and don’t know how to feel about it. Chemical Reaction Essay? (25) It’s a sentiment that reverberates with many Afrikaners who straddle the cruel angel old and new regimes and find themselves to reducing juvenile, have been complicit, however passively, in the events of the past. Snyman’s story of a journey in his bakkie – armed with some “clothes, a laptop, a camera, notebooks and a can of pepper spray for self defence” (26) – takes us from De Doorns to Kimberley, from Brandfort to Polokwane in thesis a relentless quest to come to terms with the ordinary South African, to discover whether he “still belongs”. From finding out more about how people survive on government grants (R250 a month per essay recollection child) by following the AllPay days of the small Karoo towns, to chasing after a bank robbery in cruel Pofadder and thesis sa wikang ingles a tragic farm murder in Lindley, small ironies and absurdities are gently laid before the reader: the cruel angel english bank robber who jumped into a corrugated-iron dam with a bag full of cash, the farmer’s sister-in-law arriving at the farm to feed the chemical reaction essay murdered family’s dogs. There is space for humour, too, in the ordinary and the bizarre: the mandatory peppermint on english, each motel bed, the absurdity of the four unexplained fire hydrants in Swartkop, or the switchboard operator who helped a late-night drunk reach Princess Diana at Buckingham Palace.
It is precisely this peculiar combination of pain and pleasure that marks Snyman’s sense of nostalgia. It is a nostalgia that manifests in F.A Venter’s Werfjoernaal , an Afrikaans travelogue from Islam Discussion Board, 1968, one that speaks of a simpler time, which Snyman reads on the road: The story moved me for one reason in particular – the innocence of life in the platteland as Venter describes it. Angel? It could just as well have been a description of Danielskuil and its surroundings in the seventies. It’s a bygone farmers’ paradise of church bazaars, Sunday school picnics and jovial auctions. (59) Interwoven with this story is another: the thesis tungkol story of Snyman and angel thesis english his elderly father, a retired minister of the statement juvenile Dutch Reformed Church and one time chaplain-general of the AWB. Father accompanies son on his journey by thesis english, means of regular phone calls, constantly trying to convince his boy to return home to Ventersdorp. It is through these conversations – in the clash between old-fashioned (though well-meaning) conservatism and progressive curiosity propelled by a sense of displacement – that Snyman’s convictions become clear. In trying to explain his aimless wanderings to balancing reaction essay, his father, he is explaining them to himself. His conflicted relationship with his father (anger and frustration intermeshed with intense love) is also his relationship with his fatherland. And it is thesis this conflicted relationship that brings forth the discomfort he feels about nostalgia, a discomfort about an affectionate longing for a bygone world – the world of his father – that is disappearing around him.
The term “nostalgia” was coined, Snyman explains, by the German doctor Johannes Hofer in 1688 when he observed the mental condition of chemical soldiers fighting in a foreign country, longing for their fatherland. Hofer later noted that it was not just the ailment of soldiers but of anyone who felt they had lost their fatherland – or whose fatherland had become unfamiliar to them. Snyman says, for example, that he has never lived on a farm, but that somewhere inside him he sometimes feels there is thesis one. The farm in me is all the farms I’ve come across and for jobs got to cruel thesis english, know and letter learnt to love in my life. The farms in history books – farms where homes were burnt down – also help make up my farm. [. ] Is that why we feel a little sad whenever we see the ruin of a farmyard next to the road? Is it because we feel the farm inside of thesis us is also changing? As if the life we’ve known ever since we can remember is disappearing? (69) But what is the significance of this longing? Observing the past through the lens of nostalgia almost always accentuates the positive and eliminates the negative. Snyman warns against it, and is worried that his writing has come to be associated with such a move. “We’ll have to think carefully about what exactly nostalgia means and how it can stall one’s life,” he commented to Rapport. “We Afrikaners long for the past so much these days that we begin to forget things. It is dangerous.” It is the ingles nostalgia of the Afrikaners, he explains to his father, that is making them feel like strangers in their own country – “our longing for the past is so strong it’s making us believe we’re innocent” (134).
Thus the conundrum for the Afrikaner remains: if nostalgia is to be avoided, what hope is there for the Afrikaner Nkandla, his psychological home – a sense of belonging that allows him the freedom to express what he desires, and to be comfortable? The quest for an Nkandla is a quest for culture – and if we are to angel english, accept the Hegelian idea of culture as no more than habit, by Discussion Board, definition a repetition, then it is impossible to separate culture from the past. This leaves the Afrikaner with a sense of displacement, which is typical of cruel angel post-apartheid South Africa. Some, like Snyman’s father, defensively and vehemently cling to a sense of belonging, a culture, a way of doing things that is characteristic of the past – refusing to be displaced, despite general condemnation. Others were temporarily displaced – but ten years after democracy, wanted to reclaim a share of the Islam Discussion Board country. Rian Malan, in angel thesis an interview with The Guardian in thesis tungkol sa wikang 2007, commented on this phenomenon with reference to Bok van Blerk’s polemical song, “De la Rey”: Afrikaners were so vilified in the latter years of cruel apartheid that they just kept their heads down and put up with any shit for the first 10 years of the democratic experiment.
Now they were not so sure. The song was being sung in bars and at rugby grounds like a national anthem; 100,000 copies of the thesis reducing juvenile CD had been sold. De la Rey suggested that the cruel thesis english rainbow nation was once again threatening to break up into its constituent colours. Yet others, like Snyman, embrace the displacement, despite the ingles pain, and seek to negotiate a new dwelling place, a new Nkandla in cruel english a new South Africa. Again, the cover letter Germans prove helpful by angel thesis, creating a term that means the opposite of nostalgia: fernweh , a longing to be far – a type of “wanderlust”.
How better to thesis statement juvenile, describe The Long Way Home than as a kind of walkabout in search of a home, a reverse nostalgia in search of a future: “[T]here’s a time for listening and a time for talking, [. ] and a time for hitting the road, for cruel thesis english, heading into the country (26). Fittingly, when his father wants him to return to Danielskuil, where he grew up, Snyman changes course at the last minute to travel to the hometown of someone who is as far away from himself as possible: Julius Malema. Fitting, too, is that what finally affords him something approximating an Nkandla, is a little distance – both in chemical reaction essay the sense of space, and in the sense of cruel angel thesis english perspective. Hence the title: The Long Way Home. It is after his father’s death that Snyman finally decides to revisit some personal history. His great-great grandfather’s trousers are hanging in the museum at the Church of the Covenant in Pietermaritzburg, his father tells him. Yeats Essays? Oupa Coenraad, who fought in angel thesis the so-called Battle of Blood River, was a very large man, who wore very large trousers. “They called him the Strongman of the Great Trek” (99). Standing squarely in front of the trousers, which like an Discussion, old family member seem to welcome him, he reads the sign in isiZulu. Made clear is the legacy of the Afrikaners as an African tribe, one which honoured and even worshipped its ancestors: Kruger, De la Rey, De Wet – one and cruel angel with a bloody history, yes, but what part of the South African past is not? Perhaps the lesson of The Long Way Home is that it is counter-productive to shirk the past: nothing can be achieved if it is Islam Board avoided.
The past should not be dwelled upon, this story seems to english, say, as in the case of melancholic nostalgia. Rather, it should be embraced and accepted with a view to letter for jobs, the future. My Nkandla is (. ) a toast to “tant Koek se hoender-haan” at a wedding. Cruel? It’s in the calluses on the palm of thesis statement reducing a hand and in the worn sole of a Grasshopper shoe. It’s in the blanket covering a mirror during a thunderstorm, and in the long unbroken peel of an orange peeled with a pocketknife. (172). With this embrace of the past, comes inevitable guilt and darkness – but such guilt, too, makes up the Afrikaner’s history and identity. It is cruel angel thesis english through a reworking of the past that the future can be envisioned – in an embrace of Islam Discussion nostalgia, as well as an cruel angel thesis, embrace of Islam Discussion Board guilt. My Nkandla is wounded, it’s in the fingerprint powder on the windows of a car or a house, it’s in the white outlines around a lifeless body on the floor of a house. My Nkandla is thesis burdened with the weight of guilt, of truncheons and guns and Casspirs, and hey, tata, go and live in a separate area, go and swim in thesis statement reducing juvenile another sea. But my Nkandla is cruel angel remorse and forgiveness too. (172)
In a tribute to his late father, Snyman visits the town where he grew up, Memel. Memel, he says, was his father’s “putu pap and poor-boy flour-bag underpants and stories about going barefoot in the frost on a winter’s morning – stories that had a happy ending when he stood with his cold feet in letter a heap of warm cow dung” (156). Cruel Thesis English? It is thus with conviction that Snyman is recollection my childhood able to claim his Nkandla when he responds to a question about where he is from: “I am from here,” he says, “ Ek is hiervandaan.” This is where his Nkandla lies – somewhere between the past and the future, between Blood River and Polokwane. Freud, S.,1917. Mourning and Melancholia. In: Freud, A., Strachey, A. and Strachey, J. (eds) The Standard Edition of the Complete Psychological Works of cruel angel Sigmund Freud, Volume XIV: On the History of the Psycho-Analytic Movement, Papers on chemical, Metapsychology and Other Works, 237-258. London: Hogarth Press. Simpson, D. Thesis? 2006. 9/11: The Culture of Commemoration, London: University of Chicago Press.
Snyman, D. 2012. The Long Way Home. Cape Town: Tafelberg. Excellent, thoughtful review by Anneke Rautenbach.
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Can Merit Pay Accelerate School Improvement. Can Merit Pay Accelerate School Improvement? James W. Noll’s 2008 book Taking Sides: Clashing Views on Educational Issues discussed a variety of current issues in American education. Our EDM 501 class used Mr. Tungkol Ingles? Noll’s book and its topics as subject starting points for our debates this semester. Within this world that we live on, there is an enormous amount of people. Cruel Thesis English? Each of these people belongs to different cultures and tungkol sa wikang societies. Every society has traits and customs that make it unique. These societies follow different moral codes. This means that they will may have different answers to the.
“Do the Right Thing” Divine Command Theory-Moral Egoism Heaven, Hell, and Religion. “ Do the Right Thing” Divine Command Theory-Moral Egoism Heaven, Hell, And Religion PHILOSOPHY 320 12/3/2009 Why do people follow rules and obey laws? Why do people generally avoid lying, cheating, stealing, and killing? Why do people give to charities or help their fellow man? Is it because. ?Ethics Meta-ethics Meta-ethics – analyses the use of angel english, ethical language, such as what is good/bad Normative ethics – analyses the moral value of an action/thing Cognitivism – ethical statements are meaningful as they can be proved or falsified Non-cognitivism – ethical language does not give information. The value of life is life itself. These two literary works, Hamlet’s Soliloquy ( from chemical essay Hamlet, Prince of Denmark, Act III, Section 1), and It’s Not About the thesis, Bike: My Journey Back to Islam, Life, use the format of the angel english, Hero’s Journey and give the thesis tungkol, reader an idea of how others may value their life. In Hamlet’s. context or consequences (as in absolutism). Moral universalism is compatible with moral absolutism, but also positions such as consequentialism.
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understand the need to balance this approach with non-salary rewards. Keep People Engaged and Motivated While we know that compensation alone does not drive engagement scores up, we do know that it is an chemical reaction important part of maintaining an engaged workforce. Employees who believe they are paid fairly. Why Is It That We Have Gun Control? College of University of Phoenix Gun control 2 Why is it that we have Gun Control? The people of the United States would like to keep crime rates down and all handguns locked up. With them being locked up (in a safe) and out of reach of children, we are doing a good job by keeping our children and. the things I had, there were others who were less fortunate than I was. This family value got repeated more often than not. My parents would repeat this to me time and time again.
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We should answer these questions to have a better understanding. ? Louis Armstrong at Berlin 1965 Shteinberg Andrei MUS A124 12/03/2015 Louis Armstrong's legendary concert in Berlin. Armstrong's career was in full bloom and from 1955 on, Armstrong traveled the world, performing with his All Stars in support of U.S. interests abroad. , Inc. Founded by Louis Kane and Ron Shaich, the company prospered along the east coast of the United States and internationally throughout the cruel thesis english, 1980s and 1990s and became the Islam Discussion, dominant operator within the bakery-cafe category.
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Share your own ideas on how he suffered under the media demands. Do you have any similar personal experience? Is it possible to escape, like Morrie? How can people apply his lessons to see through cultural values? He pays attention to the important role played by compassion and english, love. Are they important for people’s everyday life? Make sure you provide specific examples from text once you choose these Tuesdays with Morrie essay topics . Focus on yeats and introductions the theory on detachment shared by the main character in this book. Did it help him throughout his disease? How?
Could he stay content with it? Why? You can devote your academic paper to the symbolism of Morrie’s pink hibiscus flower. He received food each Tuesday. Cruel Angel Thesis? Why does Mitch keep bringing him food, even if he can’t eat any longer?
Did his childhood have a positive impact on his future life? Was it important for Morrie’s future development? Why? Who inspired his motivation and Board, love for education? Why did the main character decide to cruel angel english be a sociology professor?
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How do you imagine the best day in your life? Who would you like to spend it with? The perfect day of the reducing juvenile, main character is plain and without any extraordinary plans. Cruel? When it comes to your writing a compare and essays and introductions, contrast essay , take into account this winning subject. Is there anything too late to do in people’s life? Is there anything that seems to angel thesis english you out of reach? What do you want to accomplish?
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