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Flâneur

Flâneur
Paul Gavarni, Le Flâneur, 1842. Flâneur (pronounced: [flɑnœʁ]), from the French noun flâneur, means "stroller", "lounger", "saunterer", or "loafer". Flânerie refers to the act of strolling, with all of its accompanying associations. The flâneur was, first of all, a literary type from 19th century France, essential to any picture of the streets of Paris. Etymology[edit] Charles Baudelaire The terms of flânerie date to the 16th or 17th century, denoting strolling, idling, often with the connotation of wasting time. The flâneur was defined in a long article in Larousse’s Grand dictionnaire universel du XIXe siècle (in the 8th volume, from 1872). By then, the term had already developed a rich set of associations. In the 1860s, in the midst of the rebuilding of Paris under Napoleon III and the Baron Haussmann, Charles Baudelaire presented a memorable portrait of the flâneur as the artist-poet of the modern metropolis: The crowd is his element, as the air is that of birds and water of fishes. Related:  Read, Write, ReflectTruth, Literature, and Learning

Harold Bloom Creates a Massive List of Works in The "Western Canon": Read Many of the Books Free Online I have little desire to rehash the politics, but the facts are plain: by the time I arrived in college as an undergraduate English major in the mid-90s, the idea of the “Western Canon” as a container of—in the words of a famous hymn—“all that’s good, and great, and true” was seriously on the wane, to put it mildly. And in many quarters of academia, mention of the name of Yale literary critic Harold Bloom provoked, at the very least, a raised eyebrow and pointed silence. Bloom’s reputation perhaps unfairly fell victim to the so-called “Canon Wars,” likely at times because of a misidentification with political philosopher Allan Bloom. That Bloom was himself no ideologue, writes Jim Sleeper; he was a close friend of Saul Bellow and “an eccentric interpreter of Enlightenment thought who led an Epicurean, quietly gay life.” Nonetheless, his fiery attack on changing academic values, The Closing of the American Mind, became a textbook of the neoconservative right. A: “The Theocratic Age” Italy

20 more awesomely untranslatable words from around the world If only you could use these words in Scrabble. Photo: Jeremy Mates When linguists refer to “untranslatable” words, the idea is not that a word cannot somehow be explained in another language, but that part of the essence of the word is lost as it crosses from one language to another. This often is due to different social and cultural contexts that have shaped how the word is used. In the novel Shame, Salman Rushdie’s narrator suggests: “To unlock a society, look at its untranslatable words.” Here are 20 words that don’t translate directly into English; what may these words tell us about the societies in which they come from? 1. Arabic – [in-shal-la] While it can be translated literally as “if Allah wills,” the meaning of this phrase differs depending on the speaker’s tone of voice. It can be a genuine sentiment, such as when talking to an old friend and parting with “We’ll meet again, inshallah,” or it can be used as a way to tacitly imply you actually aren’t planning to do something. 2.

Nude in your hot tub, facing the abyss (A literary manifesto after the end of Literature and Manifestos) Down from the Mountain Once upon a time, writers were like gods, and lived in the mountains. They were either destitute hermits or aristocratic lunatics, and they wrote only to communicate with the already dead or the unborn, or for no one at all. They had never heard of the marketplace, they were arcane and antisocial. Later, there came another wave of writers, who lived in the forests below the mountains, and while they still dreamt of the heights, they needed to live closer to the towns at the edge of the forest, into which they ventured every now and again to do a turn in the public square. Soon, writers began to take flats in the town, and took jobs—indeed, whole cities were settled and occupied by writers. Now you sit at your desk, dreaming of Literature, skimming the Wikipedia page about the ‘Novel’ as you snack on salty treats and watch cat and dog videos on your phone. The Puppet Corpse To say that Literature is dead is both empirically false and intuitively true.

Psychogeography evoL PsychogeogrAphix 2003 evoL PsychogeogrAphix 2004 evoL PsychogeogrAphix 2005 Psychogeography is an approach to geography that emphasizes playfulness and "drifting" around urban environments. Development[edit] Psychogeography was originally developed by the avant-garde movement Lettrist International in the journal Potlach. In "Formulary for a New Urbanism", Chtcheglov had written "Architecture is the simplest means of articulating time and space, of modulating reality, of engendering dreams".[5] Similarly, the Situationists found contemporary architecture both physically and ideologically restrictive, combining with outside cultural influence, effectively creating an undertow, and forcing oneself into a certain system of interaction with their environment: "[C]ities have a psychogeographical relief, with constant currents, fixed points and vortexes which strongly discourage entry into or exit from certain zones". Quoting Karl Marx, Debord says: Dérive[edit] Noted psychogeographers[edit]

Aphra Behn Aphra Behn (/ˈæfrə bɛn/;[1] baptised 14 December 1640 – 16 April 1689) was a prolific dramatist of the English Restoration, one of the first English professional female literary writers.[2] Along with Delarivier Manley and Eliza Haywood, she is sometimes referred to as part of "The fair triumvirate of wit." Little is known for certain about Behn's life except for her work as an author and as a spy for the British crown. There is almost no documentary evidence of the details of her first 27 years. The bawdy topics of many of her plays led to her oeuvre being ignored or dismissed since her death. Life and work[edit] Versions of her early life[edit] Title page of the first edition of Oroonoko (1668) Information regarding her life is scant, especially regarding her early years. Career[edit] A sketch of Aphra Behn by George Scharf from a portrait believed to be lost (1873) Behn's exploits were not profitable however; the cost of living shocked her, and she was left unprepared. Last years[edit]

A-level Critical Thinking CRITICAL THINKING REVISION NOTES[edit] Credibility of evidence[edit] Argument: A proposal/conclusion supported by a reason or reasons.Evidence: Information that supports an argument.Credibility: The believability of information. Source: Where information comes from e.g. a newspaper or a Website. Truth – Something that is correctNeutrality – A neutral source is impartial and does not take sides. 1. Expertise – Expertise is specialist knowledge in a particular field. However… ·Experts disagree. Reputation – Reputation is the regard in which a person or organisation is held. Observations are affected by: ·Senses – short-sightedness would affect an eye-witness account. Corroboration – When more that one source of evidence supports the same conclusion. ·The historic context – Attitudes can change over a period of time. Credibility criteria: Criteria used to assess how believable a source of information is An easy, quick way of remembering the main credibility criteria: History Sociology Unit II[edit]

Rare 1959 Audio: Flannery O’Connor Reads ‘A Good Man is Hard to Find’ Flannery O'Connor was a Southern writer who, as Joyce Carol Oates once said, had less in common with Faulkner than with Kafka and Kierkegaard. Isolated by poor health and consumed by her fervent Catholic faith, O'Connor created works of moral fiction that, according to Oates, “were not refined New Yorker stories of the era in which nothing happens except inside the characters' minds, but stories in which something happens of irreversible magnitude, often death by violent means." In imagining those events of irreversible magnitude, O'Connor could sometimes seem outlandish--even cartoonish--but she strongly rejected the notion that her perceptions of 20th century life were distorted. “Writers who see by the light of their Christian faith will have, in these times, the sharpest eye for the grotesque, for the perverse, and for the unacceptable," O'Connor said. “To the hard of hearing you shout, and for the almost-blind you draw large and startling figures." Related Content:

Travel Through Time by Riding the Sound. Mind Matters One Simple Idea: How Positive Thinking Reshaped Modern LifeBy Mitch HorowitzCrown Publishing, 2014352 pp.; $24 cloth George Orwell once wrote that you had to be a part of imperialism in order to hate it. A comparable sentiment drives author and editor Mitch Horowitz’s inquiry in One Simple Idea: How Positive Thinking Reshaped Modern Life. Like imperialism, the positive thinking movement is a juggernaut, a wide-eyed troop of optimists who march in lockstep toward bliss, stamping out negative thoughts with every tread. Unlike Orwell, however, Horowitz is not a mutineer but a wary supporter who mouths affirmations while his cohorts holler them with fervor. It is his halfhearted embrace of positive thinking, Horowitz argues, that makes him best suited to critique it. And so it is that Horowitz, sans rose-colored glasses, attempts to record the lineage of the American positive thinking movement. More useful as part of these works would have been testimonials.

Human Eye Solar Earth Analogy as a Stonehenge Code Baby boomer humor’s big lie: “Ghostbusters” and “Caddyshack” really liberated Reagan and Wall Street I am going to start with three beloved movies of my childhood, and end with a suggestion of why liberals will probably never be able to come to grips with what they winningly call “inequality.” The three movies I have in mind—”National Lampoon’s Animal House,” “Caddyshack,” and “Ghostbusters”–were all written or directed, in whole or in part, by the great Harold Ramis, who died last week, and whose work was eulogized by President Obama as follows: When we watched his movies . . . we didn’t just laugh until it hurt. We questioned authority. That seems about right, doesn’t it? So, the political equation is obvious, right? Well, no. Start with the first really great movie Ramis had a hand in writing, “National Lampoon’s Animal House.” Drink, take and lie: translate it into Latin and it could be the motto of the One Percent. And that makes for a pretty liberal film, right? Well, free-market conservatives do. Harold Ramis was a sort of poet of the rude gesture, of the symbolic humiliation.

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