Stinging the Predators: A collection of papers that should never have been published

This ebook collects academic papers and conference abstracts that were meant to be so terrible that nobody in their right mind would publish them. All were submitted to journals and conferences to expose weak or non-existent peer review and other exploitative practices. Each paper has a brief introduction. Short essays round out the collection

The contemporary significance of home based nurturing with reference to wisdom poems in the Book of Proverbs and Shona traditional culture

There is presumed dialogue between the book of Proverbs and Shona wisdom poems in dealing with the subject of home based nurturing towards societal stability. The underlying principle in both approaches, it seems, is that preparation for life begins in the home. Its negligence could account for societal breakdown. This study seeks to explore, on the one hand, the contemporary validity of home based nurturing as observed in these traditional settings, and on the other, to investigate whether this dialogue yields a methodological approach of using Africa to interpret the Old Testament. The assumption we are taking in this study is that societal stability begins in the home. A socio-rhetorical reading of Proverbs 1-9 seems to reveal that these texts were written from the perspective of a parent-teacher, with years of experience and attained wisdom, which creates a forum to pass on this knowledge to a child-student. The common approach in both traditional settings is that the speaker employs wisdom poems, (memorable compositions) and local sayings (observed phenomena) to illustrate or illumine a given everyday reality as the prescriptive solution for becoming successful in life. Thus, wisdom poems, both biblical and Shona, are almost consistently used to communicate truth and lessons for life. For that reason, the reading of the book of Proverbs and that of Shona wisdom poems demands a novel hermeneutical approach.Old Testament and Ancient Near Eastern StudiesD. Litt. et Phil. (Biblical Studies

Using the media for family planning

For more about the East-West Center, see http://www.eastwestcenter.org/</a

The representation of women in contemporary production of Greek tragedies based on the myth of Orestes, with special reference to the theme of matricide

The present research deals with the representation of the women involved in the myth of Orestes - initiated by Agamemnon's return from Troy and his murder by his unfaithful wife - by contemporary directors. The issue of women's representation is intermingled with the theme of matricide since Clytemnestra's murder by her children is central to the tragedies dealing with the House of Agamemnon. Moreover, the directors' approach to that issue throws light on their consideration for the women's cause. The performances analysed have taken place in Greece and in Great Britain with the exception of a Finnish production of the Oresteia which is treated in the Appendix B. The plays discussed are Aeschylus' Oresteia, Sophocles' Electra and Euripides' Electra and Orestes. One chapter is devoted to each of the three tragedians. The first part of the three chapters examines the tragedians' approach to the issues. The second part concentrates on contemporary approaches by directors. The first chapter deals with the position of Greek tragedy in contemporary theatre practice in association with the tragedians' treatment of women in general. Chapter 2, on Aeschylus' Oresteia discusses: a)Peter Hall's version produced by the National Theatre Company of Great Britain (Epidavros, 1982), b)Peter Stein's Russian adaptation (Epidavros, 1994), c)Karolos Koun's production for his Art-Theatre (Epidavros, 1982), d)Spyros Evangelatos' Oresteia for his Amphi-Theatre and e)Yorgos Michaelidis' production for his Open Theatre (Open Theatre, 1993). Chapter 3 on Sophocles' Electra discusses: a)Koun's and his Art-Theatre's production (Epidavros, 1984), b)Evangelatos' and his Amphi-Theatre's production (Epidavros, 1991), c)The Royal Shakespeare Company's production directed by Deborah Warner (Riverside Studios, 1991) and d)Andreas Voutsinas' and the State Theatre of Northern Greece's production (Epidavros, 1992). Chapter 4, on Euripides' Electra and Orestes discusses: a) Kostas Tsianos' and the Thessalian Theatre's production of Electra (Epidavros, 1993), b)Kostas Bakas' and Mythos' production of Orestes (Herodeion, 1992) and c)Laurence Boswell's and Gate Theatre's production of Agamemnon's Children (Gate Theatre, 1995). The biographies of the directors whose approaches to the myth are discussed in detail are included in Appendix A

Pavao Ritter Vitezovic : defining national identity in the baroque age

This thesis is intended as a contribution to the understanding of national identity construction by national elites in early modern Europe. It examines the development of national identity among the Croats and concentrates upon the life and work of the Croatian writer and scholar Pavao Ritter Vitezovic (1652-1713). His work in the fields of national history, linguistics and genealogy is treated as typical of the type of early modern scholar concerned with national identity, here termed identity constructor. The phenomenon of identity construction among the early modern Croats is set in the context of current debates over western and eastern models of national development. This is followed by an account of the development of a Croatian identity in the fields of politics and culture during the early modern period. Chapter Two is concerned with the social and intellectual forces which led early modern scholars to address questions of national identity. It examines Vitezovic's intellectual and moral world, in particular the character of his patriotism and its origins in humanist learning and in chivalry. Chapter Three looks at ideas of national renewal in Vitezovic's work. It discusses his analysis of the threats facing the Croats in terms of external enemies, namely the Turks and the lack of coherence among the Christian alliance, and internal enemies, namely the Croats' own decadence and indifference to their national identity. The next three chapters examine aspects of the identity which Vitezovic presented to the Croats in order to halt their decline into obsolescence. Chapter Four uses Vitezovic's ethnographic writings to examine how national identities are fashioned from existing material to suit current circumstances. It discusses his use of Slav and Illyrian literature to inspire the Croats with nostalgia for their former period of greatness. This longing would rouse the Croats from their present state of apathy and direct them towards the task of national self-renewal. Chapters Five and Six look at the importance of statehood for Croatian national identity. Chapter Five examines how Vitezovic set the existing political institutions of the Kingdom of Croatia within the context of the Croats' national history and defined the relations between the Croats and their king, the Habsburg Emperor. The following chapter looks at Vitezovic's grand scheme for an enlarged Kingdom of Croatia to be built under the aegis of the Emperor after the Ottoman withdrawal from the Balkans. It considers how historical and ethnic arguments are used to invest territory with national content. The concluding chapter examines problems of change and continuity within national identities. A brief survey of developments in Croatian national identity in the half century after Vitezovic's death and before the rise of the romantic movement is followed by a general conclusion on the constraints which determine how a nation creates its identity

The place of grief work in mental health

Dissertation (Ph.D.)--Boston University, 1948. This item was digitized by the Internet Archive

The dynamics of innovation: newness and novelty in the Athens of Aristophanes

This study looks at the dynamics of innovation: why innovation occurs, what newness means in diverse areas of life, how social, cultural and individual attitudes to novelty interact, and the wider impact of innovation. The historical focus is ancient Athens, a society well known for its originality and creativity. Despite Athens' well-known competitiveness and flair for innovation, classical historians have tended to emphasise its traditionalism and respect for the past. However, the comedies of Aristophanes testify to the deliberate pursuit of innovation and to the effects of rapid and wide-ranging change in the late fifth and early fourth centuries B.C. They are adduced, together with other sources for the period, as evidence for the kinds of innovation that took place in politics, law, religion and warfare, as well as in specialist skills (technai) such as rhetoric, the visual arts, music, and medicine. The sources reveal diverse reactions, ranging from ambivalence and anxiety to excitement and optimism, to the experience of newness in these culturally key areas of Athenian life. Attitudes and behaviour differed between individuals and social groups, depending on the area of innovation. A combination of factors served to encourage the drive to innovate: material circumstances such as commercialism, war, and imperial rule; social pressures such as competitiveness, democratic openness, and the desire for acclaim; and technical imperatives such as the pursuit of accuracy, efficacy, and originality. The proliferation of tools of verbal communication (specifically rhetoric and writing) to express and record new ideas; is a pervasive theme. In conclusion, a broad trend is discerned for the period, showing Athenians towards the end of the fifth century to have been unusually interested in the meaning and possibilities of innovation. Aristophanes' characterisation in particular of the climate of newness suggests an intriguing historical analogue to recent discourses of postmodernity

Twentieth century Gaelic literature: a description, comprising critical study and a comprehensive bibliography

Part 1 of the thesis comprises critical study. of Scottish Gaelic literature.. in the twentieth century. The first chapter outlines the sociological, educational, institutional and biographical background, and the history of Gaelic publishing and of periodical literature (including important Gaelic columns in newspapers and Gaelic broadcasting by the B.B.C. In the second chapter, prose--informative and creative--is divided, into 3 sections: 1825- 45[resume], 1880-1925, 1950--. The influence on the, early stories and novels of the native sgeulachd and historical and exiles' tales is documented, as is exotic influence. The short stories of the most recent period are discussed in more detail-than the rest. Writing styles and the teaching of Gaelic prose in schools are discussed. The third chapter concerns drama. The late appearance of the genre in Gaelic is discussed: early embryonic dramatic forms are examined and there is a section devoted to the cömhradh, an essay-device which came to be dramatically performed. The discussion of play scripts is divided into 2 sections: 1900-45, 1945--. In the first section, the development of popular comedy from Lowland community drama, revivalist dramatisations of customs and the cömhradh is traced; plot types are delineated; also, serious drama is evaluated. In the latter-period, experimental drama is discussed in detail. There follows a section on performances which gives details of the types of drama performed and discussion of drama teams, festivals, societies and audiences. The final section describes the development of critical-taste. The fourth chapter- devoted to poetry, is considerably the longest. It is divided into sections on a stylistic basis. Traditional bardic poetry--i.e., that with an Expressionistic tendency-- is dealt with first: the role and repertoire of the bard (and the conflation of the former with the comedian's role) and the achievement of individual bards is discussed. This is followed by a section on "the bard in exile", which is specifically concerned with the rise of Romanticism. The next section describes the survival of the bardic tradition and evaluates it. Traditional lyric poetry--that with an Impressionistic tendency--is then discussed. The next section deals with religious poetry, which is mainly bardic. The largest section describes, in close detail, experiments in poetry: both the larger and more important body of poetry rooted in the native lyric tradition and also experimental bardic poetry. The final chapter is a summary of the conclusions of the previous four. General trends and the development of surrealism, symbolism and of a general sophistication and cosmopolitanism are coded. Briefly, the pattern of development outlined in this thesis is as follows. New requirements and contacts were created by the synthetic recreation of ceilidh-culture in Lowland cities. Popular drama and short stories were a consequence, these fashions spreading to the Gaidhealtachd through the branches of An Comunn Gaidhealach. A nationalistically-motivated 'high-brow' extension of this new literature produced more ambitious short stories and plays as well as three novels. Conscious experiments in poetry were also conducted at the beginning of the century, but are of much significance only from the 1930's on, this development being a facet of the Scottish Literary Renaissance. In the 1950's and thereafter, a considerable sophistication has been achieved in all genres. Part 2 of the thesis is a descriptive bibliography of Gaelic publications in this century, including monographs and serials with ca. 3% or over of Gaelic material but excepting sheet music. The bibliography, being conceived as an extension of Donald MacLean's 'Typographia Scoto-Gadelica'(1915), gives Full Standard Description, deviations from this style being in accordance with Library of Congress procedure. Arrangement of entries is alphabetical, according to author's surname. Locations, cross references and informative footnotes are given. An introduction gives details of the style adopted