The Third Side of the Coin

The Third Side of the Coin is a manuscript of poetry exploring ironic distances, both physical and metaphysical, both slight and significant. It opens with a quote from Agha Shahid Ali who asked, What then is separation\u27s geography? The poems in this collection describe the geography of separation between individuals, cultures, ideas, man and nature and the physical and metaphysical realms. As the author travels deserts, oceans, and outer space, she seeks proofs of existence and questions natural laws deemed irrefutable. This questioning is reflected in the book\u27s title, which, on one hand, represents a state of geometric impossibility. And yet, the author contends that every coin has a third side, however narrow, marginal or fleeting it may be. It is the third side that unites diametrical opposites, that permits the coexistence of dark and the light, and that bridges the gravity and weightlessness of our existence

European duplicity and an occidental passion : Graham Greene and the limits of cultural translation

Includes bibliographical references.With an eye to the historical situation in which the novel is set, and into which it emerges, I examine the text’s negotiation of the problems of communication and communicability across different languages and cultures. I suggest Greene as, in this sense, occupied with many of the same concerns about the limits of representation of personal experience as are found in the "Modernist" movement. This reading of the text also takes into account an historically contextualised overview of the various colonial interests the novel presents - those of the "old colonial peoples" of Europe as opposed to the new American empire. In this light, I am interested in the text’s depiction of the meeting of characters of different cultural origins - specifically the encounter of the European and the American, and the "Westerner" and the "Oriental" - in order to investigate the pitfalls of communication

The uses of silence : a twentieth-century preoccupation in the light of fictional examples, 1900-1950

A striking feature of twentieth-century Western cultural history was a preoccupation with silence. This thesis is a survey of the phenomenon across a broad range of literary and theoretical discourses actively engaged in the period in exploring and exploiting silence's expressive and philosophical potential. Its focus, and unifying principle, is the dynamic resourcefulness of the motif-the diversity of its uses and significations. The meaning of silence shifts according to its context and the discourse deploying it. By analysing an array of novels and theoretical formulations-by writers as diverse as James, Chopin, Conrad, H. D., Forster, Lawrence, Faulkner, and Wittgenstein, Benjamin, Blanchot, Hassan, Macherey, Irigaray, Spivak, Derrida-the mobility of silence as a construct is exposed. Silence is identified in the fiction of the period 1900-1950, and its implications are assessed in the light of the various ways in which its uses were understood and interpreted by twentieth-century theorists. Theory provides a heuristic device for the comprehension of the fiction selected for scrutiny whilst further highlighting the extent of the past century's dedication to the motif. Fiction and theory are regarded as two different manifestations of a fascination with silence: fiction dramatizes a commitment to the motif which comes to be formally registered in theoretical discourse as the century progresses. After an introductory chapter outlining the expanse of the phenomenon to be studied, the thesis is divided into two parts illustrating the discrete implications attaching to the motif: 'Social Silences' and 'Ontological Silences'. The project questions whether the multiplicity of silence's usage may work to depotentiate its signifying power; in particular, whether its role in abstract 'ontological' formulations diminishes its force for emancipatory 'social' discourses. In conclusion, by means of the synchronic organization of the thesis, silence's import is shown to lie in its resourcefulness rather than in any intrinsic characteristic it might be thought to possess