Kirjahaku

This study takes as its point of departure an essential premise: that the widespread phenomenon of expatriation in American modernism is less a flight from the homeland than a dialectical return to it, but one which renders uncanny all tropes of familiarity and immediacy which 'fatherlands' and 'mother tongues' are traditionally seen as providing. In this framework, similarly totalising notions of cultural authenticity are seen to govern both exoticist mystification and 'nativist' obsessions with the purity of the 'mother tongue.' At the same time, cosmopolitanism, translation, and multilingualism become often eroticised tropes of violation of this model, and in consequence, simultaneously courted and abhorred, in a movement which, if crystallised in expatriate modernism, continued to make its presence felt beyond. Beginning with the late work of Henry James, this book goes on to examine at length Ezra Pound and Gertrude Stein, to conclude with the uncanny regionalism of mid-century San Francisco Renaissance poet Jack Spicer, and the deterritorialised aesthetic of Spicer's peer, John Ashbery.Through an emphasis on modernism as a space of generalized interference, the practice and trope of translation emerges as central to all of the writers concerned, while the book remains in constant dialogue with key recent works on transnationalism, transatlanticism, and modernism.

This is the first full-length critical monograph on Jack Spicer's work. In the years since his death from alcohol poisoning, San Francisco Renaissance poet Jack Spicer (1925-1965) has gradually come to be recognized as one of most intriguing, demanding, and rewarding of the so-called 'New American Poetry' poets who were first published in Donald Allen's historic anthology of that name. Informed by much archival material only recently made available, The Poetry of Jack Spicer, examines Spicer's post-Poundian translation projects; his crucial theories of the 'serial poem' and inspiration as 'dictation'; his contrarian take on queer poetics; his insistently uncanny regionalism; and his elaboration of an epistolary poetics of interpellation and address.

This is the first full-length critical monograph on Jack Spicer's work. In the years since his death from alcohol poisoning, San Francisco Renaissance poet Jack Spicer (1925-1965) has gradually come to be recognized as one of most intriguing, demanding, and rewarding of the so-called 'New American Poetry' poets who were first published in Donald Allen's historic anthology of that name. Informed by much archival material only recently made available, The Poetry of Jack Spicer, examines Spicer's post-Poundian translation projects; his crucial theories of the 'serial poem' and inspiration as 'dictation'; his contrarian take on queer poetics; his insistently uncanny regionalism; and his elaboration of an epistolary poetics of interpellation and address.

This is a study on the premise that expatriation in American modernism is less a flight from the homeland than a dialectical return to it. Beginning with the late work of Henry James, this book goes on to examine at length Ezra Pound and Gertrude Stein, to conclude with the uncanny regionalism of mid-century San Francisco Renaissance poet Jack Spicer, and the deterritorialised aesthetic of Spicer's peer, John Ashbery. Through an emphasis on modernism as a space of generalised interference, the practice and trope of translation emerges as central to all of the writers concerned, while the book remains in constant dialogue with key recent works on transnationalism, transatlanticism and modernism.

In recent criticism, Samuel Beckett's prose has been increasingly described as a labour of refusal - most notably seen by its literal disavowal of consciousness and expression as conventions in the narrative and the novel. Beginning from the premise that Beckett never betrays his belief in ""the impossibility to express"" and that the conventional romantic and metaphysical notions of ""expression"" are resolutely rejected in Beckett's post-war prose, this book argues that the expression of voicelessness in Beckett is not silence. Rather, the negativity and negation so evident in his work are not simply affirmed, but the valourization of emptiness, impotence or the ""no"" can all too easily itself become an affirmation of power.

In the early 1930's, the International Ladies' Garment Workers' Union (ILGWU) organized large numbers of Black and Hispanic workers through a broadly conceived program of education, culture, and community involvement. The ILGWU admitted these new members, the overwhelming majority of whom were women, into racially integrated local unions and created structures to celebrate ethnic differences. All Together Different revolves around this phenomenon of interracial union building and worker education during the Great Depression. Investigating why immigrant Jewish unionists in the International Ladies' Garment Workers' Union (ILGWU) appealed to an international force of coworkers, Katz traces their ideology of a working-class based cultural pluralism, which Daniel Katz newly terms "mutual culturalism," back to the revolutionary experiences of Russian Jewish women. These militant women and their male allies constructed an ethnic identity derived from Yiddish socialist tenets based on the principle of autonomous national cultures in the late nineteenth century Russian Empire. Built on original scholarship and bolstered by exhaustive research, All Together Different offers a fresh perspective on the nature of ethnic identity and working-class consciousness and contributes to current debates about the origins of multiculturalism.

In the early 1930's, the International Ladies' Garment Workers' Union (ILGWU) organized large numbers of Black and Hispanic workers through a broadly conceived program of education, culture, and community involvement. The ILGWU admitted these new members, the overwhelming majority of whom were women, into racially integrated local unions and created structures to celebrate ethnic differences. All Together Different revolves around this phenomenon of interracial union building and worker education during the Great Depression. Investigating why immigrant Jewish unionists in the International Ladies' Garment Workers' Union (ILGWU) appealed to an international force of coworkers, Katz traces their ideology of a working-class based cultural pluralism, which Daniel Katz newly terms "mutual culturalism," back to the revolutionary experiences of Russian Jewish women. These militant women and their male allies constructed an ethnic identity derived from Yiddish socialist tenets based on the principle of autonomous national cultures in the late nineteenth century Russian Empire. Built on original scholarship and bolstered by exhaustive research, All Together Different offers a fresh perspective on the nature of ethnic identity and working-class consciousness and contributes to current debates about the origins of multiculturalism.

Studienarbeit aus dem Jahr 2003 im Fachbereich Psychologie - Klinische u. Gesundheitspsychologie, Psychopathologie, Note: 1,0, Ludwig-Maximilians-Universit t M nchen (Institut f r klinische Psychologie), Veranstaltung: Pflichtschein, 23 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Das zentrale Moment der Freudschen Traumdeutung besteht darin, mit Hilfe der freien Assoziation an Informationen zu gelangen die darauf schlie en lassen in welcher Weise der Tr umer seine unbewussten Regungen verh llt. Um so mehr kann es erstaunen, dass Freud zur gleichen Zeit einen Katalog von allgemein anwendbaren Bedeutungen oder symbolischen Gleichungen zusammenstellt, welcher scheinbar die Assoziationen des Tr umers berfl ssig macht. Genau diese Gegens tze sind es, die selbst berzeugte Psychoanalytiker die Freudsche Psychoanalyse als gespalten und in sich widerspr chlich bezeichnen lassen.Anhand eines exemplarischen Traums wird in der vorliegenden Arbeit zun chst die technische vorgehensweise der klassischen Freudschen Traumdeutung mitsamt ihrer Hintergr nde behandelt. Es folgt eine Diskussion der Optionen der Symboldeutung vs. der Assoziationsdeutung. Hierbei beleuchtet Daniel katz den Symbolbegriff sowohl aus psychologischer als auch aus ethnologischer und linguistischer Perspektive. Die Arbeit schlie t mit einer Entscheidung ber die "richtige" Vorgehensweise bei der Deutung eines Traumes. Ist die Freudsche Traumdeutung ein widerspr chliches Kapitel in der Geschichte der Traumforschung?