Sibyl 2000

https://digitalcommons.otterbein.edu/yearbooks/1012/thumbnail.jp

Gwen Bristow: A Biography With Criticism of Her Plantation Trilogy .

Gwen Bristow was born September 16, 1903. Her father was a minister and church leader and her mother was a homemaker and housemother for residents of Southern Baptist Hospital nurses\u27 home. Both had impressive genealogies. Bristow, a reporter in New Orleans for The Times-Picayune from July 9, 1925, to November 28, 1930, and February 5, 1932, to September 21, 1934, wrote for many periodicals throughout her life. Her marriage to Bruce Manning took her to Hollywood, where she lived from the summer of 1934 until late spring 1980. Bruce Manning\u27s career as a script writer, director, and producer provided a milieu Bristow enjoyed but never entered professionally except to have her novels, Tomorrow Is Forever and Jubilee Trail, made into movies. Having published one small volume of poetry, Bristow is best known for her historical novels: Deep Summer (1937), The Handsome Road (1938), and This Side of Glory (1940)--all published under one title, Gwen Bristow\u27s Plantation Trilogy (1962); Jubilee Trail (1950), Celia Garth (1959), and Calico Palace (1970). Her fourth novel, Tomorrow Is Forever (1943)--a departure from her historical novels--is set in World War II and focuses on reasons for anti-war sentiment. Her eighth, Golden Dreams (1980) is a straightforward historical sketch of the Gold Rush. An inexhaustible researcher, Bristow was admired for accuracy of historical detail in her fiction, all on national best-seller lists for months. Although not a feminist in the contemporary sense but an advocate for women\u27s rights and abilities in assertive, professional roles, she lectured and lived as a deeply concerned, aware citizen and independent thinker. Exclusive of documents she destroyed (as too revealing), her journals (1931-1978) and papers depict her marriage, work, hopes, frustrations, family, friends, attitudes, and reactions to local, national, and international affairs. As author and lecturer, she was enormously successful financially. Although some critics found her fiction sentimental and romantic, more praised it for her objective and realistic depiction of historical milieu. She wrote of nineteenth- and twentieth-century Louisiana, the nineteenth-century western movement, eighteenth-century South Carolina, and the nineteenth-century Gold Rush. A talented writer, she made a significant contribution in the genre of romantic historical fiction. She died in New Orleans August 17, 1980

Why Brilliant People Believe Nonsense: A Practical Text for Critical and Creative Thinking

The information explosion has made us information rich, but wisdom poor. Yet, to succeed in business and in life, we must distinguish accurate from bogus sources, and draw valid conclusions from mounds of data. This book, written for a general adult audience as well as students, takes a new look at critical thinking in the information age, helping readers to not only see through nonsense, but to create a better future with innovative thinking. Readers should see the practicality of enhancing skills that make them more innovative and employable, especially in a day when companies increasingly seek original thinkers, global visionaries, and thought leaders. Targeting high school seniors and college freshmen, but useful to all adult readers, the authors examine surprising and costly mental errors made by respected business leaders, entertainment moguls, musicians, civic leaders, generals and academics. Then, the authors draw practical applications to help readers avoid such mistakes and think more creatively in each field. Although written in an engaging and popular style, over 600 end notes provide authority to this content-rich document. Thus writers, researchers, teachers, and job seekers should find it a useful starting point for research into this important field. Home school teachers and public school educators will find an accompanying free website with lesson plans and teaching tips. It\u27s also a low-cost alternative to expensive texts. (The hard copy is priced reasonably and a pdf of the entire book will be offered free to students on their digital platforms.) Each chapter ends with thought questions and tips for further research.https://digitalcommons.kennesaw.edu/facbooks2015/1011/thumbnail.jp

Reading Chernobyl: Psychoanalysis, Deconstruction, Literature

This thesis explores the psychological trauma of the survivors of the Chernobyl nuclear disaster, which occurred on April 26, 1986. I argue for the emergence from the disaster of three Chernobyl traumas, each of which will be analysed individually – one per chapter. In reading these three traumas of Chernobyl, the thesis draws upon and situates itself at the interface between two primary theoretical perspectives: Freudian psychoanalysis and the deconstructive approach of Jacques Derrida. The first Chernobyl trauma is engendered by the panicked local response to the consequences of the explosion at Chernobyl Reactor Four by the power plant’s staff, the fire fighters whose job it was to extinguish the initial blaze caused by the blast, the inhabitants of nearby towns and villages, and the soldiers involved in the region’s evacuation and radiation decontamination. Most of these people died from radiation poisoning in the days, weeks, months or years after the disaster’s occurrence. The first chapter explores the usefulness and limits of Freudian psychoanalytic readings of local survivors’ testimonies of the disaster, examining in relation to the Chernobyl event Freud’s practice of locating the authentic primal scene or originary traumatic witnessing experience in his subjects’ pasts, as exemplified by his Wolf Man analysis, detailed in his psychoanalytic study ‘On the History of an Infantile Neurosis’ (1918). The testimonies read through this Freudian psychoanalytic lens are constituted by Igor Kostin’s personal account of the disaster’s aftermath, detailed in his book Chernobyl: Confessions of a Reporter (2006), and by Svetlana Alexievich’s interviews with Chernobyl disaster survivors in her book Voices from Chernobyl: The Oral History of a Nuclear Disaster (2006). The second chapter argues that Freudian psychoanalysis only provides a provisional, ultimately fictional origin of Chernobyl trauma. Situating itself in relation to trauma studies, this thesis, progressing from its first to its second chapter, charts the geographical and temporal shift between these first and second traumas, from trauma-as-sudden-event to trauma-as-gradual-process. In the weeks following the initial Chernobyl explosion, which released into the atmosphere a radioactive cloud that blew in a north-westerly direction across Northern Ukraine, Belarus, Latvia, Estonia, Finland and Sweden, symptoms of radiation poisoning slowly emerged in the populations of the abovementioned countries. To analyse the psychological impact of confronting this gradual, international unfolding of trauma – the second trauma of Chernobyl – the second chapter of this thesis explores the critique of the global attempt to archivise, elegise and ultimately understand the Chernobyl disaster in Mario Petrucci’s elegies, compiled in his poetry collection Heavy Water: A Poem for Chernobyl (2006), the horror film Chernobyl Diaries (2012, dir. Bradley Parker), and Adam Roberts’ Science Fiction novel, Yellow Blue Tibia (2009). Analysing the deconstructive approach of Jacques Derrida in these texts – his notions of archive fever, impossible mourning and ethical mourning – this chapter argues that the attempt to interiorise, memorialise and mourn the survivors of the Chernobyl disaster is narcissistic, hubristic and violent in the extreme. It then proposes that Derrida’s notion of ethical mourning, outlined most clearly in his lecture ‘Mnemosyne’ (1984), enables us to situate our emotional sympathy for survivors – who, following Derrida’s lecture, are maintained as permanently exterior and inaccessible to us – in our very inability or failure to comprehend or locate the origin of their Chernobyl traumas. The third and final chapter analyses the third trauma of Chernobyl: the psychological and physiological effects of the disaster on second-generation inhabitants living near the Exclusion Zone erected around the evacuated, cordoned-off and still-radioactive Chernobyl region. These second-generation experiences of living near a sealed-away source of intense radiation are reconstructed in literature and videogaming: in Darragh McKeon’s novel All That Is Solid Melts Into Air (2014), Hamid Ismailov’s novel The Dead Lake (2014) and the videogame S.T.A.L.K.E.R: Shadow of Chernobyl (2007), developed by the company GSC Game World. The analysis of these texts is informed by Nicolas Abraham and Maria Torok’s psychoanalytic theory of the intergenerational phantom: the muteness of a generation’s history which returns to haunt the succeeding generations. This chapter will explore the psychological effects upon second-generation Chernobyl survivors, which result from these survivors’ incorporation or unconscious interiorisation of their parents’ psychologically repressed traumatic Chernobyl experiences, by analysing reconstructions of this process in the abovementioned texts. These parental experiences, echoing the Exclusion Zone as a denied physical space, have been interred in inaccessible psychic crypts. By way of conclusion, the thesis then offers an alternative theory of reading survivors’ Chernobyl trauma. Survivors’ restaging of their Chernobyl witnessing experiences as jokes enables them to cathartically, temporarily abreact their trauma through the laughter that these jokes engender