Portal:Literature/Selected article archive/2009 archive
This is an archive of article summaries that have appeared in the Selected article section of Portal:Literature in 2009. For past archives, see the complete archive page.
The Western Chalukya Empire (973–1200 CE), in what is now southern India, produced a large body of literature in the Kannada language. This dynasty, which ruled most of the western Deccan in South India, is sometimes called the Kalyani Chalukya Dynasty, after its royal capital at Kalyani (now Basavakalyan), and sometimes called the Later Chalukya Dynasty for its theoretical relationship to the sixth-century Chalukya dynasty of Badami. For a brief period (1162–1183), the Kalachuris, a dynasty of kings who had earlier migrated to the Karnataka region from central India and served as vassals for several generations, exploited the growing weakness of their overlords and annexed the Kalyani. Around 1183, the last Chalukya scion, Somesvara IV, overthrew the Kalachuris to regain control of the royal city. But his efforts were in vain, as other prominent Chalukya vassals in the Deccan, the Hoysalas, the Kakatiyas and the Seunas destroyed the remnants of the Chalukya power.
Kannada literature from this period is usually categorised into the linguistic phase called Old-Kannada. It constituted the bulk of the Chalukya court's textual production and pertained mostly to writings relating to the socio-religious development of the Jain faith. The earliest well-known writers belonging to the Shaiva faith are also from this period. Under the patronage of Kalachuri King Bijjala II, whose prime minister was the well-known Kannada poet and social reformer Basavanna, a native form of poetic literature called Vachana literature (lit "utterance", "saying" or "sentence") proliferated. The beginnings of the Vachana poetic tradition in the Kannada-speaking region trace back to the early 11th century. Kannada literature written in the Sanskritic champu metre, composed of prose and verse, was popularised by the Chalukyan court poets. However, with the advent of the Veerashaiva (lit, "brave devotees of the god Shiva") religious movement in the mid-12th century, poets favoured the native tripadi (three-line verse composed of eleven ganas or prosodic units), hadugabba (song-poem) and free verse metres for their poems.
Getting It: The psychology of est is a non-fiction book by American psychologist Sheridan Fenwick, first published in 1976, analyzing Werner Erhard's Erhard Seminars Training or est. It is based on Fenwick's own experience of attending a four-day session of the est training, an intensive 60-hour personal development course in the self-help genre. Large groups of up to 250 people took the est training at one time.
In the first section of Fenwick's book, she recounts the est training process and the methods used during the course. Fenwick details the rules or "agreements" laid out by the trainers to the attendees, which include not talking to others or leaving the session to go to the bathroom unless during an announced break period. The second section is analytic: Fenwick analyzes the methods used by the est trainers, evaluates the course's potential effects, and discusses Erhard's background. Fenwick concludes that the program's long-term effects are unknown, and that the est training could harm certain groups of people.
Writing in Library Journal, psychiatrist James Charney describes the book as "the only useful critical look" at the training. Zane Berzins of The New York Times Book Review characterizes the book as a "calm and professionally informed view". Hearings held in 1979 before the United States House of Representatives on a juvenile delinquents program depicted in Scared Straight! cited the book for background on the est training, as did psychologist Gidi Rubinstein in a 2005 study of the Landmark Forum published in the academic journal Psychology and Psychotherapy: Theory, Research and Practice.
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| Poe, as painted after her death. |
Virginia Eliza Clemm Poe (born Virginia Eliza Clemm) (August 22, 1822 – January 30, 1847) was the wife of Edgar Allan Poe. The couple were first cousins and married when Virginia Clemm was 13 and Poe was 27. Some biographers have suggested that the couple's relationship was more like that between brother and sister than like husband and wife and that they never consummated their marriage. Beginning in January 1842, she struggled with tuberculosis for several years. She died of the disease in January 1847 at the age of 24 in the family's cottage outside New York City.
Along with other family members, Virginia Clemm and Edgar Allan Poe lived together off and on for several years before their marriage. The couple often moved to accommodate Poe's employment, living intermittently in Baltimore, Philadelphia, and New York. A few years after their wedding, Poe was involved in a substantial scandal involving Frances Sargent Osgood and Elizabeth F. Ellet. Rumors about alleged amorous improprieties on her husband's part affected Virginia Poe so much that on her deathbed she claimed that Ellet had murdered her. After her death, her body was eventually placed under the same memorial marker as her husband in Westminster Hall and Burying Ground in Baltimore, Maryland. Only one image of Virginia Eliza Clemm Poe has been authenticated: a watercolor portrait painted after her death.
Philitas of Cos (c. 340 – c. 285 BC) was a scholar and poet during the early Hellenistic period of ancient Greece. A Greek associated with Alexandria, he flourished in the second half of the 4th century BC and was appointed tutor to the heir to the throne of Ptolemaic Egypt. He was thin and frail; Athenaeus later caricatured him as an academic so consumed by his studies that he wasted away and died.
Philitas was the first major writer who was both a scholar and a poet. His reputation continued for centuries, based on both his pioneering study of words and his verse in elegiac meter. His vocabulary Disorderly Words described the meanings of rare literary words, including those used by Homer. His poetry, notably his elegiac poem Demeter, was highly respected by later ancient poets. However, almost all his work has since been lost.
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| Original Gawain manuscript, Cotton Nero A.x. |
Sir Gawain and the Green Knight is a late 14th-century Middle English alliterative romance outlining an adventure of Sir Gawain, a knight of King Arthur's Round Table. In the tale, Sir Gawain accepts a challenge from a mysterious warrior who is completely green, from his clothes and hair to his beard and skin. The "Green Knight" offers to allow anyone to strike him with his axe if the challenger will take a return blow in a year and a day. Gawain accepts, and beheads him in one blow, only to have the Green Knight stand up, pick up his head, and remind Gawain to meet him at the appointed time. The story of Gawain's struggle to meet the appointment and his adventures along the way demonstrate the spirit of chivalry and loyalty.
The poem survives in a single manuscript, the Cotton Nero A.x., that also includes three religious pieces, Pearl, Cleanness, and Patience. These works are thought to have been written by the same unknown author, dubbed the "Pearl Poet" or "Gawain Poet." All four narrative poems are written in a North West Midland dialect of Middle English. The story thus emerges from the Welsh and English traditions of the dialect area, borrowing from earlier "beheading game" stories and highlighting the importance of honour and chivalry in the face of danger.
La Peau de chagrin is an 1831 novel by French novelist and playwright Honoré de Balzac (1799–1850). Set in early 19th-century Paris, it tells the story of a young man who finds a magic piece of shagreen that fulfills his every desire. For each wish granted, however, the skin shrinks and consumes a portion of his physical energy. La Peau de chagrin belongs to the Études philosophiques group of Balzac's sequence of novels, La Comédie humaine. Although the novel uses fantastic elements, its main focus is a realistic portrayal of the excesses of bourgeois materialism. The book's central theme is the conflict between desire and longevity. The magic skin represents the owner's life force, which is depleted through every expression of will, especially when it is employed for the acquisition of power. Ignoring a caution from the shopkeeper who offers the skin to him, the protagonist greedily surrounds himself with wealth, only to find himself miserable and decrepit at the story's end. La Peau de chagrin firmly established Balzac as a writer of significance in France and abroad. His social circle widened significantly, and he was sought eagerly by publishers for future projects. It inspired Giselher Klebe's opera Die tödlichen Wünsche and may have influenced Oscar Wilde's novel The Picture of Dorian Gray. (more...)
Wonder Stories was an early science fiction magazine which was published under several titles from 1929 to 1955. It was founded by Hugo Gernsback in 1929 after he had lost control of his first science fiction magazine, Amazing Stories, when his media company Experimenter Publishing went bankrupt. Within a few months of the bankruptcy, Gernsback launched three new magazines: Air Wonder Stories, Science Wonder Stories, and Science Wonder Quarterly. Air Wonder Stories and Science Wonder Stories were merged in 1930 as Wonder Stories, and the quarterly was renamed Wonder Stories Quarterly. The magazines were not financially successful, and in 1936 Gernsback sold Wonder Stories to Ned Pines at Beacon Publications, where, retitled Thrilling Wonder Stories, it continued for nearly 20 years. The last issue was dated Winter 1955, and the title was then merged with Startling Stories, another of Pines' science fiction magazines. Startling itself lasted only to the end of 1955 before finally succumbing to the decline of the pulp magazine industry.
The editors under Gernsback's ownership were David Lasser, who worked hard to improve the quality of the fiction, and, from mid-1933, Charles Hornig. Both Lasser and Hornig published some well-received fiction, such as Stanley Weinbaum's "A Martian Odyssey", but Hornig's efforts in particular were overshadowed by the success of Astounding Stories, which had become the leading magazine in the new field of science fiction. Under its new title, Thrilling Wonder Stories was initially unable to improve its quality. For a period in the early 1940s it was aimed at younger readers, with a juvenile editorial tone and covers that depicted beautiful women in implausibly revealing spacesuits. Later editors began to improve the fiction, and some ground-breaking stories were published, including "The Lovers", a well-received story by Philip José Farmer about interspecies sex. By the end of the 1940s, in the opinion of science fiction historian Mike Ashley, the magazine briefly rivaled Astounding.
El Señor Presidente (The President) is a 1946 novel written in Spanish by Nobel Prize–winning Guatemalan writer and diplomat Miguel Ángel Asturias (1899–1974). A landmark text in Latin American literature, El Señor Presidente explores the nature of political dictatorship and its effects on society. Asturias makes early use of a literary technique now known as magic realism. One of the most notable works of the dictator novel genre, El Señor Presidente developed from an earlier Asturias short story, written to protest social injustice in the aftermath of a devastating earthquake in the author's home town.
Although El Señor Presidente does not explicitly identify its setting as early twentieth-century Guatemala, the novel's title character was inspired by the 1898–1920 presidency of Manuel Estrada Cabrera. Asturias began writing the novel in the 1920s and finished it in 1933, but the strict censorship policies of Guatemalan dictatorial governments delayed its publication for thirteen years.
The character of the President rarely appears in the story but Asturias creates a number of other characters to show the terrible effects of living under a dictatorship. His use of dream imagery, onomatopoeia, simile, and repetition of particular phrases, combined with a discontinuous structure, which consists of abrupt changes of style and viewpoint, springs from surrealist and ultraist influences. The style of El Señor Presidente influenced a generation of Latin American authors. The themes of Asturias's novel, such as the inability to tell reality apart from dreams, the power of the written word in the hands of authorities, and the alienation produced by tyranny, center around the experience of living under a dictatorship.
On its eventual publication in Mexico in 1946, El Señor Presidente quickly met with critical acclaim. In 1967, Asturias received the Nobel Prize in Literature for his entire body of work. This international acknowledgment was celebrated throughout Latin America, where it was seen as a recognition of the region's literature as a whole. Since then, El Señor Presidente has been adapted for the screen and theater.
Ancient Egyptian literature refers to literature written in the Egyptian language from Ancient Egypt's pharaonic period until the end of Roman domination. It represents the oldest corpus of Egyptian literature. Along with Sumerian literature, it is considered the world's earliest literature.
Writing in Ancient Egypt—both hieroglyphic and hieratic—first appeared in the late 4th millennium BC during the late phase of predynastic Egypt. By the Old Kingdom (26th century BC to 22nd century BC), literary works included funerary texts, epistles and letters, religious hymns and poems, and commemorative autobiographical texts recounting the careers of prominent administrative officials. It was not until the early Middle Kingdom (21st century BC to 17th century BC) that a narrative Egyptian literature was created. This was a "media revolution" which, according to Richard B. Parkinson, was the result of the rise of an intellectual class of scribes, new cultural sensibilities about individuality, unprecedented levels of literacy, and mainstream access to written materials. However, it is possible that the overall literacy rate was less than one percent of the entire population. The creation of literature was thus an elite exercise, monopolized by a scribal class attached to government offices and the royal court of the ruling pharaoh. However, there is no full consensus among modern scholars concerning the dependence of ancient Egyptian literature on the sociopolitical order of the royal court.
Middle Egyptian, the spoken language of the Middle Kingdom, became a classical language during the New Kingdom (16th century BC to 11th century BC), when the vernacular language known as Late Egyptian first appeared in writing. Scribes of the New Kingdom canonized and copied many literary texts written in Middle Egyptian, which remained the language used for oral readings of sacred hieroglyphic texts. Some genres of Middle-Kingdom literature, such as "teachings" and fictional tales, remained popular in the New Kingdom, although the genre of prophetic texts was not revived until the Ptolemaic period (4th century BC to 1st century BC). Popular tales included the Story of Sinuhe and The Eloquent Peasant, while important teaching texts include the Instructions of Amenemhat and The Loyalist Teaching. By the New Kingdom period, the writing of commemorative graffiti on sacred temple and tomb walls flourished as a unique genre of literature, yet it employed formulaic phrases similar to other genres. The acknowledgment of rightful authorship remained important only in a few genres, while texts of the "teaching" genre were pseudonymous and falsely attributed to prominent historical figures.
Ancient Egyptian literature has been preserved on a wide variety of media. This includes papyrus scrolls and packets, limestone or ceramic ostraca, wooden writing boards, monumental stone edifices, and even coffins. Texts preserved and unearthed by modern archaeologists represent a small fraction of ancient Egyptian literary material. The area of the floodplain of the Nile is under-represented because the moist environment is unsuitable for the preservation of papyri and ink inscriptions. On the other hand, hidden caches of literature, buried for thousands of years, have been discovered in settlements on the desert margins of Egyptian civilization.
Pattern Recognition is a novel by science fiction writer William Gibson published in 2003. Set in August and September 2002, the story follows Cayce Pollard, a 32-year-old marketing consultant who has a psychological sensitivity to corporate symbols. The action takes place in London, Tokyo, and Moscow as Cayce judges the effectiveness of a proposed corporate symbol and is hired to seek the creators of film clips anonymously posted to the internet.
The novel's central theme involves the examination of the human desire to detect patterns or meaning and the risks of finding patterns in meaningless data. Other themes include methods of interpretation of history, cultural familiarity with brand names, and tensions between art and commercialization. The September 11, 2001 attacks are used as a motif representing the transition to the new century. Critics identify influences in Pattern Recognition from Thomas Pynchon’s post-structuralist detective story The Crying of Lot 49.
The novel is Gibson's eighth and the first to be set in the contemporary world. Like his previous work, it has been classified as a science fiction and postmodern novel, with the action unfolding along a thriller plot line. Critics approved of the writing but found the plot unoriginal and some of the language distracting. The book peaked at #4 on the New York Times Best Seller list, was nominated for the 2003 British Science Fiction Association Award, and was shortlisted for the 2004 Arthur C. Clarke and Locus Awards.
"The Raven" is a narrative poem by the American writer Edgar Allan Poe, first published in January 1845. It is often noted for its musicality, stylized language, and supernatural atmosphere. It tells of a talking raven's mysterious visit to a distraught lover, tracing the man's slow descent into madness. The lover, often identified as being a student, is lamenting the loss of his love, Lenore. The raven, sitting on a bust of Pallas, seems to further instigate his distress with its constant repetition of the word "Nevermore". The poem makes use of a number of folk and classical references.
Poe claimed to have written the poem very logically and methodically. His intention was to create a poem that would appeal to both critical and popular tastes, as he explains in his 1846 follow-up essay "The Philosophy of Composition". The poem was inspired in part by a talking raven in the novel Barnaby Rudge: A Tale of the Riots of 'Eighty by Charles Dickens. Poe borrows the complex rhythm and meter of Elizabeth Barrett's poem "Lady Geraldine's Courtship". The poem makes use of internal rhyme as well as alliteration throughout.
The first printing of "The Raven" was in the January 29, 1845, issue of the New York Evening Mirror. Its publication made Poe widely popular in his lifetime though it did not bring him much financial success. The poem was soon reprinted, parodied, and illustrated. Although critical opinion is divided as to its status, it remains one of the most famous poems ever written.
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| 1897 illustration of Z. Marcas, Adrien Moreau |
Z. Marcas is an 1840 novelette by French author Honoré de Balzac. Set in contemporary Paris, it describes the rise and fall of a brilliant political strategist who is abandoned by the politicians he helps into power. Destitute and forgotten, he befriends a pair of students who live next door to him in a boarding-house. The story follows their many discussions about the political situation in France.
Balzac was inspired to write the story after he spotted the name "Z. Marcas" on a sign for a tailor's shop in Paris. It was published in July 1840, in the Revue Parisienne, a magazine he had founded that year. One year later it appeared in a collection from various authors under the title La Mort d'un ambitieux ("The Death of an Ambitious Man"). Balzac later placed it in the Scènes de la vie politique section of his vast novel sequence La Comédie humaine.
Although Z. Marcas features characters from other Balzac stories and elements of literary realism – both hallmarks of Balzac's style – it is remembered primarily for its political themes. Balzac, a legitimist, believed that France's lack of bold leadership had led to mediocrity and ruin, and that men of quality were being ignored or worse. He maintained that the youth of France were in danger of being abandoned by the government, and predicted unrest in the years to come.
The story also explores Balzac's conviction that a person's name is a powerful indicator of his or her destiny, an idea he drew from the work of Laurence Sterne. The title character, with his keen intellect, is based on Balzac's conception of himself: a visionary genius who fails to achieve his true potential because of less talented individuals with more social power.