Empathy, metaphor and symbol: a rhetorical study of the servant songs in their Deutero-Isaianic context, based on the work of D. J. A. Clines

The introductory chapter mentions the work of B. Duhm on the book of Isaiah and his arguments for the existence of four servant songs (Isa. 42.1-4; 49.1-6; 50.4-9; and 52.13-53.12) within chs. 40-55. These chapters are now frequently referred to Deutero-Isaiah (DI). Several works summarising proposals for the identity of the servant in DI are discussed, and recent opinions disputing the distinctiveness of the songs within their DI context are presented. The trend towards an interpretation of the songs within DI is not unrelated to rhetorical criticism and a short overview of the work of some scholars using this method in DI is provided. Several works in the last few years have noted the rhetorical study of Isa. 52.13-53.12 (Isa. 53) offered by D. J. A. Clines, I, He, We, and They. Clines' study is summarised and reactions to it are given. It is suggested that his approach may provide a model for studying the other songs and a starting point in order to obtain further insight into the possible identity of the servant and the relationship between the songs and the wider DI context. The next chapter provides and discusses a translation of the notoriously difficult Isa. 53. Chapter 3 presents an overview of rhetorical criticism, and Isa. 53 is then studied according to its precepts. Clines had argued that the poem centres on the servant but it is proposed that the poem also centres on the first person plural persona, Clines' we. His proposals concerning the effect of the servant on the reader are modified. Definitions of empathy are given and it is argued that the poem elicits empathy for both the servant and us. It is then suggested that empathy informs other relationships described in the poem. In the next two chapters it is proposed that empathy informs relationships depicted within 42.1 - 4 and 49.1-6 and that these poems too elicit empathy from the reader. In chapter 6 it is argued that Isa. 50.4-11 can be interpreted as a poetic unit, one which similarly describes relationships informed by empathy and elicits empathy. Chapter 7 argues that empathy connects the songs with the wider DI context. In chapter 8, a study of first and third person language related to the servant suggests that these are poems distinct within DI, thereby creating a tension with the preceding chapter. It is further suggested that the poems containing first person language may function like soliloquies and all of the poems may particularly focus on empathy. Chapter 9 notes the trend towards the identification of the servant as a metaphor and symbol, and suggests that this terminology requires clarification. Definitions of both are presented. The next chapter summarises recent ideas concerning the provenance of DI and argues that DI sought to create the concept of Israel. It is also noted that Jacob/Israel, the 2mpl found throughout DI and the servant of the songs are described with a host of metaphors. The task of creation and the variety of metaphors are consistent with the creative function of metaphors. The servant may be a symbolic vehicle within a metaphorical statement. In the final chapter, it is argued that the songs evoke several metaphors in which the servant is the vehicle, and the songs themselves function as artistic symbols whose meaning is the very participation in them. Empathy thus encourages participation, exists within participation and is one vital aspect of the meaning of the songs. Areas for further research related to empathy are proposed

How Epistolary Novelists’ Literalizations of Moral Sense Philosophy Dramatize the Long-Eighteenth Century’s Gender Battles

While some might consider epistolary novels of the long-eighteenth century as the sentimental purview of women readers, this research proposes that many of these epistolary novels serve as powerful markers in the gender wars of this era. While an overall sense of optimism pervaded Britain’s long-eighteenth century, people still grappled with foundational moral questions. These questions came to be addressed in increasingly secular ways by moral philosophy. As these philosophers occupied influential government, law, and publishing positions, their ideas and works greatly influenced the public imagination. The publications of moral philosophers—such as John Locke, the third Earl of Shaftesbury, Joseph Butler, David Hume, Adam Smith, and Jeremy Bentham—sparked the imaginations of some of the era’s top epistolary novelists who dramatized their philosophical theories in fictional moral experiments. This project investigates how and why the novelists Aphra Behn, Samuel Richardson, Sarah Fielding, Frances Burney, Mary Wollstonecraft, and Mary Shelley literalized the dialectics of certain moral philosophers. This research asserts that the novelists adopted the structure of the three-stage moral dialectic found in moral sentiment theories and patterned their novels and their characters’ psychological processes to be a literalization of the moral-philosophical dialectics. As the novelists use the realist epistolary genre, they capture real-world settings and complex psychologies with startling accuracy, prompting interpretive questions regarding character ethics and credibility. Literary analysis reveals that the novelists designed fictional plotlines that facilitate inevitable moral dilemmas for the characters to contemplate and determine their moral actions. These plotlines and character dilemmas follow a three-stage moral dialectic of thesis, antithesis, and synthesis. While no one to one pairing of novelist and moral philosopher is identified or argued for, the literary analysis reveals undeniable mutual influences and metatextual responses across the works chosen for this project. In the thesis stage, novelists have their characters literalize the philosopher’s process of contemplation. For example, Aphra Behn designs her characters to dramatize John Locke’s focus on applying experience-based knowledge in the process of refuting received social customs. This novelist-philosopher connection also appears in Samuel Richardson’s characters who emulate Shaftesburean principles when they depend upon their innate moral sense to ascertain the virtuous path in a precarious situation. After the contemplative thesis stage is played out, the novelists move to the antithesis stage, which expresses a state of skepticism wherein the characters are unwilling or unable to bridge the gap from moral knowledge to moral behavior. The novelists then dramatize the synthesis stage, which resolves the unstable condition of the antithesis state, through some external regulatory structure. The specifics of the resolution vary across the novels depending on which moral philosopher’s stance is adopted. For instance, Frances Burney’s warning novel of The Wanderer; or, Female Difficulties (1814), literalizes the importance of everyone adhering to David Hume’s General Rule and of respecting class boundaries. This project uses narratology focused on diegetic framing levels and voice styles to analyze how the novelists shift first-person epistolary voices and third-person omniscient voices to convey their perspectives regarding the social benefits of living out these moral philosophies. Specifically, the novelists assert how the external regulatory structures impact women, eliciting praise or criticism from the various authors. In these designed fictional worlds, this research asserts that several novelists develop narrators who emulate a moral philosopher’s specific concept of an “imagined internal entity.” This entity functions as a self-reflexive tool for thinking and assessing a situation’s holistic moral implications and potential actions. For example, this entity refers to Shaftesbury’s “critical self,” Butler’s “conscience,” and Smith’s “Impartial Spectator.” This project ultimately asserts that the stage three synthesis presents the most significant social commentary posed by the novelists. In this stage three turn to external regulatory structures, such as marriage in particular or the law in general, some of the novelists—such as Samuel Richardson, Sarah Fielding, and Frances Burney—applaud the philosopher’s proposal for regulating social harmony. However, other novelists—such as Aphra Behn, Mary Wollstonecraft, and Mary Shelley—use their fictional works to dramatize how this turn to external regulatory structures led to gender and class discrimination, to the point of women experiencing social condemnation, unjust imprisonment, and capital punishment

Prophetic pathos in Isaiah : reading as a Chinese-Canadian woman.

This thesis is a worked-out example of the interplay of I culture- gender-context' and biblical interpretation. It is an interdisciplinary, empirical, and heuristic study. By pursuing a two-centred approach (text-centred and reader- oriented), I seek to look into an important aspect in the inner life of the Isaian persona -- his emotion through a synchronic- literary study of the selected III-Passages (places where the character speaks in the first-person singular voice). Three 'entry points' are established as the foci of textual reading. They are: (1) monologue and self; (2) language of emotion and self; and (3) language of religious faith and emotion. A socio-psychological study of emotion provides the background for the three components of my reader-perspective: Chinese culture, woman Is viewpoint, and Canadian situatedness. In accordance with the empirical emphasis of this thesis, a small scale reader-response survey and interview study were conducted, with the participation of 47 flesh-and-blood readers and two interviewees. overall, this study is a heuristic attempt (in the sense that my methodology is tailor-made to serve my goals) toward a version of culture- gender-context 'specific' interpretation. It provides preliminary suggestions in hammering out the methodological tools applicable to any 'given' culture-gender-context specific' reading

Interactional Particle Use in a Japanese L2 Learner Corpus: Usage-based Analysis and Application to Teaching Japanese

ジョージア工科大学Georgia Institute of Technology多言語母語の日本語学習者横断コーパス（I-JAS）の対話データ（約15時間）を用い，言語熟達度の異なる英語母語話者（留学経験のない初級後半学習者10名，留学経験のある中級学習者10名）と日本語母語話者（10名）の相互行為詞の言語使用の実態を検討した。Bardovi-Harlig & Bastos（2011）によると，言語熟達度と語用論的マーカーの使用には複雑な関係があるが，熟達度が高い学習者ほど汎用的なマーカーの使用が多く，使用頻度も高い。本研究では，「ね」「よ」「よね」など文末に現れる相互行為詞の種類とその頻度を調査した。その結果，（1）初級後半のグループは定型表現が多く，「ね」「よ」「か」「かな」の4種類に限られていたが，中級学習者は使用の種類も9種類と広がりを見せ，頻度も多く，言語熟達度と相互行為詞の使用にはある関係性が確認できた。（2）「か」の機能にも，言語熟達度による質的な違いが見られた。初級後半学習者の注視先は，あくまで話者主体であり，会話に出てくる言葉の意味確認のために使われていたのに対し，中級学習者の注視先は会話の相手で，自分のナラティブを理解しているのかを確認するための表現（「Lock-upという居酒屋ってわかりますか」）に使われていた。つまり言語熟達度が上がると，主体と会話相手が持つ知識や経験に注視し，相互主体性が高くなるようだ。（3）「よ」に関しては，学習者の使用は非常に限られているのに対し，日本語母語話者は「よね」や「んですよ」という「よ」のバリエーション表現が多かった。相互行為詞と同様に「のだ」構文も初級の教科書に出てくるが，その多義性や文脈依存性のために，習得が難しい。I-JASの母語話者は，ナラティブにおいて背景的状況を伝えるために「んですよ」を使ったり，話し手が意見を主張しながらも聞き手に同意を求める感情的な関わりの高い「よね」を使用していた。今後は，コーパスを活用し，用法基盤モデルの研究成果を活かし，言葉をルールではなく，言葉の概念を中心に相互主体性の視点も取り入れ体系的に教えることが望ましいと思われる。By using the International Corpus of Japanese as a Second Language (I-JAS), this study aims to advance our understanding of acquisition process of interactional particles by learners of Japanese as a second language (L2). Dialogue segments from I-JAS, involving twenty adult English-speaking L2 learners of Japanese at two proficiency levels, along with a baseline group of 10 first language (L1) adults, were selected for analysis, specifically examining their use of interactional particles. Previous studies demonstrate that the complex relationship between proficiency and the use of different types of pragmatic markers exist, as proficiency is one of the sources of individual variations in L2 learners' pragmatic performance (Bardovi-Harlig & Bastos 2011). The first part of this study examined whether L2 learners' proficiency level would influence the use of interactional particles. We found that proficiency was significantly related to the overall frequency of the use of interactional particles, with the beginner group tending to use limited type of particles in formulaic expression and use them less frequently. The second half of this study investigated the discursive functions of interactional particles by each group. While both beginners and intermediate learners limited their use of yo and its variants, L1 speakers have a strong preference for the n desu yo construction and yone. Although both L2 learners groups used the question particle ka, intermediate learners show their intersubjectivity. The discussion considers the implications of promoting usage-based foreign language pragmatics teaching with corpus studies, which contributes to interactional competence and pragmatic capacity.application/pdfdepartmental bulletin pape

Nothing To See Hear

Nothing to See/Hear is a research experiment into minimalist visual narrative via the short film Not the Boss of Me, in which the criteria for production mandated only the bare essential elements required to construct and convey a plot and its characters be used while filming within a nondescript space - in this case, a mostly empty soundstage. How does one tell a story and define its characters without direct expository dialogue? What is needed to establish and define locations and/or environments when limited to only one or two items? Can an audience engage their imagination to fill in the absences of content and come away feeling as though they have experienced a fully realized cinematic event? And will they? The screenplay - not written to be minimalistic by nature, but rather produced through minimalistic techniques - went through a process of rigorous drafts, actor table readings, feedback sessions and further revisions. Said process resulted in a script which streamlined plot points, eliminated extraneous dialogue and converted exposition into actions. By analyzing environments via a process of sensory elimination, a method of reconstructing spaces one sense element at a time, a basis was established for designing a floor plan for any location needed. If you can’t see a location, how do you hear it? Through audio field recordings mixed with soundstage captures, the atmosphere and scope of environments would be established. If you can only see one thing, what will provide context to define everything unseen surrounding it? Light and shadow, along with strategically placed set items, would create a sense of time, location and tone. Examples: The sound of a lawn mower might elicit a mental picture of a house and neighborhood. Someone wearing a hardhat could conjure the scene of a construction site. Warm yellow side light creates a sense of morning. A cold wash of blue overhead light evokes an isolating night. It was determined that doors embody the character of the buildings they inhabit and serve as the single best representation of any location structure. The remaining majority of the world-building, not practically visible or aided by sound, would rely on the actor’s physical engagement - seeing how they put the space into their bodies through behavior - and the audience’s natural tendency to solve the missing visual puzzle. The finished film, equipped with the bare minimum of visual and narrative elements, presented a layered and detailed character-driven storyline which hinted at a much larger world beyond what was actively seen and heard. This resulted in a cinematic experience that functioned in the audience’s peripheral vision, engaging their minds\u27 eyes to fill in the voids, operating off fragments of sight, sound, gestures and inflection. Based on audience reactions, the project was a resounding success, with feedback affirming that despite the minimalistic approach to the work nothing felt missing, solidifying their investment in the work and leaving them with a desire to see and hear more. In conclusion, less is more

Blown through the tube at 50 miles an hour : transportation, motion and mobility in Virginia Woolf\u27s novels

At the turn of the 20th century the rapid development of transportation technology significantly transformed the physical world as well as people’s subjective perceptions of it. Virginia Woolf’s fascination with various modes of transportation, both as a traveler and as a keen observer, is translated into her fiction and non-fiction writings. The representation of physical transportation in Woolf’s works has received the attention of a number of scholars. However, the ways in which Woolf was inspired by the transport revolution and employed this as a vehicle for modernist narrative experimentation have not been fully explored. This dissertation therefore investigates the phenomenon of transport spaces employed in Woolf\u27s novels, and explores how transportation and mobility contribute to the literary forms and representations she innovated, and to the wider transnational cultural mobility of modernist aesthetics and ideas. My study examines transportation following a trajectory from the physical to the metaphysical, the more literal to the more metaphorical. The study begins with analyzing how transports of thought and emotion are evoked and manifested by Woolf, and how she employs diverse traffic images and constant physical mobility to explore women’s subjectivity and professions, expose the mechanisms of patriarchy and imperial power, and observe their gradual decline in her three London novels Night and Day, Mrs. Dalloway and The Years. Next, the study explores how Woolf represents and controls the characters’ streams of consciousness by manipulating various physical transport modes as well as devising a set of linguistic, syntactic, visual and auditory images, thus endowing her mid-term works with a highly innovative and distinctive narrative mobility. In the third chapter the argument is expanded to include connotations of metaphysical transport to explore how she breaks the boundaries of genre, gender and temporality in her late works, in order to convey her readers into a more kaleidoscopic narrative world through building hybrid and heterogeneous textual spaces. In the final chapter I situate Woolf in the global context, and examine the cultural mobility between her and Chinese modernist writers, especially the members of the Chinese Crescent Moon society. Through my investigation of the multifaceted transport spaces discernible in her novels, I argue that Woolf’s works accurately represent the effects of transportation technology on modern people’s cognitive and affective experience, and register the impact of the social and ideological mobility of the era in which she produced her creative works. Her assiduous modernist experimentation not only made a profound contribution to the narrative mobility of stream of consciousness novels, but also expanded the boundaries of fiction generally, and stimulated her readers’ synthetic sensibilities of motion and mobility. Moreover, the cultural assimilation reflected in both Woolf’s and Chinese modernist writers’ works exemplify that modernism functioned as a two-way vehicle for reciprocity between oriental and occidental civilizations. Overall, the dissertation itself opens up spaces for closer investigation of ideas, associations and implications of transport across Woolf’s entire praxis

A paradox of American tragedy : Long day\u27s journey into night and the problem of negative emotion in theatrical performance.

In this dissertation I examine a philosophical problem referred to as the “paradox of tragedy” as it presents itself in the context of the positive reception of Eugene O’Neill’s Long Day’s Journey into Night. This play depicts a harrowing day in the life of the Tyrone family, where each of the family members cope with failure, addiction, and disease. The emotional tone is bleak and pessimistic, yet people often describe their responses to this tragedy in terms of pleasure, and one can easily imagine someone claiming to “enjoy” the play. How is this possible? Moreover, what motivates one to pursue Long Day’s Journey into Night when they would endeavor to avoid negative emotional stimuli in real life? In chapter 1 of the project, I survey a family of theories as proposed resolution of this problem. I examine a theory derived from Stoic philosophy, David Hume’s “conversion” theory, and John Morreall’s “control” theory. Utilizing evidence drawn from analytic philosophy as well as cognitive psychology, I rule each of these theories out. This allows me to establish acceptable criteria for any resolution to the problem. In chapters two and three, I turn my attention to the claim that Journey on the whole elicits more good than bad emotional states. Using a method of emotional analysis proposed by Nöel Carroll, in chapter three, I construct a close reading of the emotional address of the play, concluding that the claim that the play elicits more positive emotion than negative is likely false. In chapters four and five, I construct a thematic reading of the play by first establishing the connection between the writing of Eugene O’Neill’s writing and the work of Friedrich Nietzsche. I perform a second close reading of the play to validate a Nietzschian reading, and then utilize this data as a feature of my own resolution to the problem. In chapter six, I conclude by presenting two theories that account for all the conditions I have established as a candidate solution and defend a “meta-response” style solution to the paradox of Journey

Sacrificial form: the libretti in English 1940-2000

This thesis focuses on the genre of libretto, the sung words for music theatre. The “little book” which accompanies every operatic performance is not just an extended program note to the spectacle, but in fact a substantial literary form in its own right. However, despite the immense influence of Wagner, the output from librettists in an operatic collaboration, has been serious ignored; indeed in opera the aesthetic function of language is frequently diminished and foreshortened, because it is often re-directed by and within the music. The result is that librettists are often seen as offering words to be “decomposed” by composers in the process of operatic collaboration. Opera, in the English language, finally achieved its rightful status, alongside its European counterparts, during the second half of the twentieth century. The thesis is intended to encompass something of the vast diversity of this genre and discusses a number of individual works as constituting legitimate literary artefacts in their own right. There will be five chapters featured in the thesis and each chapter is devoting to a specific theme

Persuasion in selected Sesotho drama texts

Thesis (DLitt (African Languages))--University of Stellenbosch, 2009.ENGLISH ABSTRACT: This study examined persuasion in selected drama texts from the literary period 1981 to 2006. The selection was organised through the examination of two such texts in each of the following three periods: • 1981–1989: Le ka nketsang and Mpowane • 1990–1999: Bana ba khomo tsa batho and Tsiketsing sa qomatsi • 2000–2006: Ha le fahloe habeli and Leholimo la phetloa Since persuasion is a relatively new topic in literature, particularly in African languages, the study examined the persuasion strategies used in the selected texts. These strategies either entail persuasion applied purely as an upfront aspect for changing the targets’ attitudes, behaviours, beliefs or opinions or entail certain situations during which the persuaders, as literary characters, employ another type (or types) of persuasion – coercion, manipulation or propaganda – in order to change the targets. The main thrust of this thesis was the persuasive tactics or techniques that might be applied by literary characters in an attempt to stimulate change in other literary characters. The study also examined whether additional persuasive interactions are employed to motivate change in others and whether counter-persuasive actions are employed to resist the proposed change. Chapter One introduces the aspect of persuasion as propounded by persuasion practitioners and experts and gives the framework of the study as a whole. Chapter Two initiates the literature review on the goals-plans-action (GPA) model as part of the psychological theories on persuasive messages produced by various interactants. This model presupposes reasons for persuaders to create certain plans for achieving their goals. Chapter Three is concerned with Le ka nketsang and Mpowane as the selected 1981 to 1989 drama texts. Chapter Four concentrates on Bana ba khomo tsa batho and Tsiketsing sa qomatsi from the 1990 to 1999 literary period. Chapter Five deals with the literary period 2000 to 2006 and analyses the two drama texts Ha le fahloe habeli and Leholimo la phetloa. Chapter Six draws a conclusion from the findings on persuasive strategies and makes observations, per chapter, on the persuasive attempts from each literary period.AFRIKAANSE OPSOMMING: Hierdie studie het oorreding in geselekteerde dramatekste uit die letterkundige tydperk 1981 tot 2006 ondersoek. Die seleksie is georganiseer deur twee sodanige tekste in elk van die onderstaande drie tydperke te ondersoek: • 1981–1989: Le ka nketsang en Mpowane • 1990–1999: Bana ba khomo tsa batho en Tsiketsing sa qomatsi • 2000–2006: Ha le fahloe habeli en Leholimo la phetloa Aangesien oorreding relatief nuwe onderwerp in die letterkunde is, in die besonder in Afrikatale, het die studie ondersoek ingestel na die oorredingstrategieë wat in die geselekteerde tekste gebruik is. Hierdie strategieë behels óf oorreding wat toegepas word suiwer as spontane aspek vir verandering van die houdings, gedrag, oortuigings of menings van die teikens, óf dit behels sekere situasies waartydens die oorreders, as letterkundige karakters, ander soort (of soorte) oorreding – dwang, manipulering of propaganda – gebruik ten einde die teikens te verander. Die belangrikste dryfkrag van hierdie tesis was die oorredende taktieke of tegnieke wat deur letterkundige karakters toegepas kan word in poging om verandering in ander letterkundige karakters aan te moedig. Die studie het ook nagegaan of addisionele oorredende interaksies ingespan word om verandering in ander te motiveer en of teen-oorredende optrede gebruik word om weerstand te bied teen die voorgestelde verandering. Hoofstuk Een stel die aspek van oorreding bekend soos dit by oorredingspraktisyns en deskundiges aangebied word, en gee die raamwerk van die studie as geheel. Hoofstuk Twee onderneem die literatuurstudie oor die doelstellings-planne-optrede (DPO)-model as deel van die sielkundige teorieë oor oorredende boodskappe soos gelewer deur verskeie persone wat in interaksie tree. Hierdie model voorveronderstel redes vir oorreders om sekere planne te ontwikkel vir die bereiking van hulle doelstellings. Hoofstuk Drie word gewy aan Le ka nketsang en Mpowane as die geselekteerde dramatekste uit die tydperk 1981 tot 1989. Hoofstuk Vier konsentreer op Bana ba khomo tsa batho en Tsiketsing sa qomatsi uit die tydperk 1990 tot 1999. Hoofstuk Vyf dek die letterkundige tydperk 2000 tot 2006, en analiseer die twee dramatekste Ha le fahloe habeli en Leholimo la phetloa. Hoofstuk Ses kom tot gevolgtrekking na aanleiding van die bevindings oor oorredende strategieë en maak waarnemings, per hoofstuk, oor die oorredende pogings van elke letterkundige tydperk