ellauri034.html on line 543: In 1975 the Nigerian writer Chinua Achebe published an essay, "An Image of Africa: Racism in Conrad´s ´Heart of Darkness´", which provoked controversy by calling Conrad a "thoroughgoing racist". Achebe´s view was that Heart of Darkness cannot be considered a great work of art because it is "a novel which celebrates... dehumanisation, which depersonalises a portion of the human race." Referring to Conrad as a "talented, tormented man", Achebe notes that Conrad (via the protagonist, Charles Marlow) reduces and degrades Africans to "limbs", "ankles", "glistening white eyeballs", etc., while simultaneously (and fearfully) suspecting a common kinship between himself and these natives—leading Marlow to sneer the word "ugly." Achebe also cited Conrad´s description of an encounter with an African: "A certain enormous buck nigger encountered in Haiti fixed my conception of blind, furious, unreasoning rage, as manifested in the human animal to the end of my days." Achebe´s essay, a landmark in postcolonial discourse, provoked debate, and the questions it raised have been addressed in most subsequent literary criticism of Conrad.
ellauri109.html on line 541: In March, 1959, The New Yorker published Roth’s story “Defender of the Faith,” in which a Jewish enlisted man tries to manipulate a Jewish sergeant into giving him special treatment out of ethnic kinship. Various rabbis and Jewish community leaders accused Roth of cultural treason. “What is being done to silence this man?” Emanuel Rackman, the president of the Rabbinical Council of America, wrote. “Medieval Jews would have known what to do with him.”
ellauri152.html on line 613: “Miss Streisand [made] Yentl, whose greatest passion was the Torah, go on a ship to America, singing at the top of her lungs. Why would she decide to go to America? Weren’t there enough yeshivas in Poland or in Lithuania where she could continue to study? Was going to America Miss Streisand’s idea of a happy ending for Yentl? What would Yentl have done in America? Worked in a sweatshop 12 hours a day where there is no time for learning? Would she try to marry a salesman in New York, move to the Bronx or to Brooklyn and rent an apartment with an ice box and a dumbwaiter? This kitsch ending summarizes all the faults of the adaptation. It was done without any kinship to Yentl’s character, her ideals, her sacrifice, her great passion for spiritual achievement. As it is, the whole splashy production has nothing but a commercial value.”
ellauri321.html on line 220: Set in the year before the Wall Street crash, Juan in America is a classic evocation of the final mania of prohibition, as seen through equally maniacal British eyes. The character Eric Linklater devised to be his unreliable explorer was one capable of absorbing the enormity of the American experience without being overwhelmed by its incongruities. A blithe, bastard descendent of Byron(tm)s Don Juan, Linklater´s Juan is an anti-hero with a taste for the grotesque and the ridiculous, at once both dirty and deity whose response when faced either with sudden catastrophe or miraculous survival is simply to laugh. A novel in the mode of the picaresque, this is a story of erotic discovery in the sense, as Juan puts it, that, eh, your trousers hide not only your willy but your kinship to the clown. A nation emerging as a great power is exalting in absurdist energies. In its last spasms before the great depression, America is revealed through a series of unlikely accidents as Juan stumbles from state to state, somehow evading consequences as he goes. On his first day, he falls for the daughter of a gangster, witnesses a murder in a speakeasy and watches a woman leap to her death in a New York street. He thrills to the bizarreness of each spectacle and moves on to the next in a galloping mood that is part medieval romance, part running commentary on what was still, in the 1920s, the new world.
ellauri333.html on line 346: Since in most cultures in India, surnames are derived from the male line, often women are by default expected to take up and even forgo their surnames in the event of their marriage. This kind of rigid kinship pattern clearly highlights the inequality of women’s social status, leading to the complete diminishing of their identity.
xxx/ellauri123.html on line 1045: Many a true word is spoken in jest, especially about the kinship between eros and thanatos. FUCK! KILL! Puuttuu enää EAT! The two closest glimpses Humbert gives us of his own self-hatred are not without their death wish—made explicit in the closing paragraphs—and their excremental aspects: "I am lanky, big-boned, wooly-chested Humbert Humbert, with thick black eyebrows and a queer accent, and a cesspoolful of rotting monsters behind his slow boyish smile." Two hundred pages later: "The turquoise blue swimming pool some distance behind the lawn was no longer behind that lawn, but within my thorax, and my organs swam in it like excrements in the blue sea water in Nice." And then there's the offhand aside "Since (as the psychotherapist, as well as the rapist, will tell you) the limits and rules of such girlish games are fluid …" in which it takes a moment to notice that "therapist" and "the rapist" are in direct apposition.
xxx/ellauri187.html on line 90: Few of these bullshit artists and temporary thinkers were as staunchly individualist as Rodin and Rilke. Their kinship, for better and worse, relied on a shared belief about the vocation of the artist—that it was supreme: no relationship, duty, or family obligation should get in the way of his work.
xxx/ellauri251.html on line 3135: With kinship of contaminated lives,
xxx/ellauri354.html on line 243: Hemingway is not an Existentialist, for there has been no known liason between him and the other existentialsists, niether personally nor intellectually, and neither has ever formally recognized a kinship to the other.
xxx/ellauri354.html on line 250: This is existential sentiment, emphasizing the real kinship between the philosophie of existance and the Wissenschaft of phänomenologie; value is
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