NATURALISM AS REFLECTED IN STEPHEN CRANE ‘S SHORT STORY THE OPEN BOAT

Abstract This research is a kind of library research. The main data is taken from Stephen Crane’s short story The Open Boat. The purpose of the research is to find out how the naturalism aspects are reflected in Stephen Crane’s short story The Open Boat. To come to that purpose, the researcher applies the structuralism Theory to analyze the problem. Besides, the researcher also applies the naturalism aspects based on Vernon Louis Parrington’s idea. Through the analysis, it is found that there are some naturalism aspects in the element of the short story of The Open Boat. The naturalism aspects that can be found in Stephen Crane’s short story of The Open Boat are; frankness, objectivity, philosophy of determinism and bias in selection character

‘A long, slow and painful road’: The Anglo-American alliance and the issue of cooperation with the USSR from Teheran to D-Day

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ 2012 Taylor & Francis.The Second World War Anglo–American alliance was less cohesive on the political side than the military. There were widening divergences between Britain and the United States with regard to the best way to handle co-operation with the Soviet Union during 1944. Some shared assumptions about the motivations of Soviet policy existed, but British and American policy-makers not only formulated different approaches, they consistently viewed their own to be more successful than those of their ally. There was an opportunity to co-ordinate polices during American Under-Secretary of State Edward Stettinius's mission to London in April 1944 but the fact that the issue was barely discussed is symptomatic of the situation. The British Foreign Office gained the backing of Winston Churchill in an attempt to forge ahead with pragmatic arrangements with the Russians. A satisfaction with their own efforts on both sides meant that the British and American bureaucracies made no serious and sustained attempt to co-ordinate their policies towards the Soviet Union through 1944, in contrast to the closeness of co-operation in other areas

La Parrhêsia tragique: l'exemple d'un échec

How can we speak to Phaedra, a woman madly in love? By analyzing what might be understood as a failure of the nurse’s parrhêsia in Seneca’s tragedy (Act I, v. 85-173), I aim to interpret frankness of speech (in the transition from Greek to Latin) as an art of truth-telling, between rhetorical pomposity and an excess of licentia, as this failure makes implicitly clear. Frankness of speech is authorised by the bond that exists between the two speakers, so that three essential questions can be asked: what to say and how to say it ? Who is the parrhesiast speaking to? And finally who is speaking

Cardozo and the Upper-Court Myth

There has recently been published a volume, Selected Writings of Benjamin N. Cardozo, which every thoughtful lawyer and judge will want ready at hand. It will repay constant re-reading. It includes nearly all Cardozo\u27s extra-judicial writings, notably The Nature of the Judicial Process, first published in 1921, and The Growth of the Law, first published in 1924. In these two books, one of our most eminent appellate judges set forth his legal philosophy. More important, he showed how this philosophy aided him in his judicial work, and, in that connection, disclosed some of the intimate details of upper-court techniques. I say more important because, before Cardozo, no judge, with the exception of Holmes, had been similarly candid. Cardozo\u27s frankness emboldened others, lawyers and judges, to be less diffident in thinking about and commenting on courthouse ways

The oratory of James Callaghan

The chapter contributes to the neglected field of analysis of the use, purpose and impact of political oratory and rhetoric in Labour's post-war political history. Specifically, the chapter assesses the contribution of Jim Callaghan's Labour oratory across the spectrum of his political and public roles and experience, and evaluates his relative success in advancing his position or that of the Labour Party as evidenced by his party and wider public impact. It suggests that, with obvious notable exceptions, Callaghan demonstrated undoubted party and public communication skills, often in difficult circumstances during his prime ministerial tenure, and held it to be one of his core political strengths. Although perhaps not a natural orator in the classical sense, his relative frankness and identification with the ‘touch-stone of public opinion’, expression of the ‘personal touch’ and ability to communicate a message of calm and reassurance were regarded as the essence of his political method and appeal, even in the darkest days of his Labour government

Experience, Emotion, and Emoting: Jack Peirs and the Aftermath of Loos

An investigation into the personal letters of one man on the Western Front, this paper seeks to uncover some of the complexities of emotion and emoting within British societal narratives of the First World War. Conceptions of masculinity and stoicism imposed limitations on soldierly expression, forcing them to abide by preordained \u27scripts\u27 to continually qualify as men. The difficulty lay in finding ways to cope emotionally with their surroundings while still playing their \u27roles\u27. By looking closely at the words and coping mechanisms of one man, Lieutenant-Colonel H.J.C. Peirs, in the aftermath of the Battle of Loos, this paper attempts to frame the emotive techniques of soldiers struggling to find peace within while remaining a \u27man\u27 without

Taking Sides on Severed Heads: Kristeva at the Louvre

The theorist and philosopher Julia Kristeva is invited to curate an exhibition at the Louvre in Paris as part of a series-Parti Pris (Taking Sides)- and to turn this into a book, The Severed Head: Capital Visions. The organiser, Régis Michel, wants something partisan, that will challenge people to think, and Kristeva delivers in response a collection of severed heads neatly summarising her critique of the whole of western culture! Three figures dominate, providing a key to making sense of the exhibition: Freud, Bataille, and the maternal body. Using these figures, familiar from across the breadth of her work over the last half a century, she produces a witty analysis of western culture’s persistent privileging of disembodied masculine rationality; the head, ironically phallic, ironically and yet necessarily severed; the maternal body continually arousing a “jubilant anxiety” (Kristeva, Severed Head 34), expressed through violence. Points of critique are raised in relation to Kristeva’s normative tendencies-could we not tell a different story about women, for example? The cultural context of the exhibition is also addressed: who are the intended viewers/readers and whose interests are being served here? Ultimately, however, this is a celebration of Kristeva’s tribute to psychic survivors