{"title":"RMMLA Past Presidents: V Adolphe J. Dickman: 1949-50","authors":"W. O. Clough","doi":"10.1353/RMR.1968.0001","DOIUrl":"https://doi.org/10.1353/RMR.1968.0001","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132967035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One of the aims of this textbook-anthology is to teach the student how to explicate poetry. Therefore it avoids such gimmicks as "discussion questions" and condensed literary history. Instead, it features previously published and original explications by several poet-critics and a sensible "ABC of Prosody" by Karl Shapiro. Professor Lane himself insists that "in every poem there is a dramatic situation"; consequently his introduction and the anthology headings place unusually heavy emphasis on such elements as situation, place, time, and conflict. The lengthy anthology has some imbalances. For example, Milton is represented by three sonnets, Wordsworth by six sonnets and four longer poems. However, there are selections by one hundred twenty poets, including such seldom anthologized figures as Thomas Ingoldsby and William Lisle Bowles. (Professor Lane informs us that he deliberately chose some "bad poems.") The poems are paired and grouped in ways which invite comparison. Marlowe's passionate shepherd is immediately answered by Ralegh, Donne, and Day Lewis. In a less obvious but typically careful arrangement, "Prufrock" follows Hardy's "Neutral Tones." Because of such revealing juxtapositions, and because of the handsome typography and spacing, Ulis volume is a worthy addition to the poetry shelf.
这本教科书选集的目的之一是教学生如何阐释诗歌。因此，它避免了“讨论问题”和浓缩文学史等噱头。相反，它的特色是几位诗人评论家先前发表的原创解释，以及卡尔·夏皮罗(Karl Shapiro)明智的《韵律基础》(ABC of poetry)。莱恩教授自己坚持认为“每首诗都有一个戏剧性的情境”;因此，他的引言和选集标题异乎寻常地强调了诸如情况、地点、时间和冲突等因素。这部冗长的选集有一些不平衡。例如，弥尔顿有三首十四行诗，华兹华斯有六首十四行诗和四首长诗。然而，有120位诗人的选集，包括像托马斯·英戈尔兹比和威廉·莱尔·鲍尔斯这样很少被选集的人物。(Lane教授告诉我们，他故意选择了一些“糟糕的诗”)这些诗以一种便于比较的方式进行配对和分组。马洛热情的牧羊人立刻得到了罗利、多恩和戴·刘易斯的回应。《普鲁弗洛克》以一种不那么明显但典型的精心安排延续了哈代的《中性音调》。由于这种揭示性的并置，由于美观的排版和间距，乌利斯卷是一个有价值的诗歌书架的补充。
{"title":"Poetry, An Introduction: Poems with Essays (review)","authors":"R. Armstrong","doi":"10.1353/rmr.1968.0004","DOIUrl":"https://doi.org/10.1353/rmr.1968.0004","url":null,"abstract":"One of the aims of this textbook-anthology is to teach the student how to explicate poetry. Therefore it avoids such gimmicks as \"discussion questions\" and condensed literary history. Instead, it features previously published and original explications by several poet-critics and a sensible \"ABC of Prosody\" by Karl Shapiro. Professor Lane himself insists that \"in every poem there is a dramatic situation\"; consequently his introduction and the anthology headings place unusually heavy emphasis on such elements as situation, place, time, and conflict. The lengthy anthology has some imbalances. For example, Milton is represented by three sonnets, Wordsworth by six sonnets and four longer poems. However, there are selections by one hundred twenty poets, including such seldom anthologized figures as Thomas Ingoldsby and William Lisle Bowles. (Professor Lane informs us that he deliberately chose some \"bad poems.\") The poems are paired and grouped in ways which invite comparison. Marlowe's passionate shepherd is immediately answered by Ralegh, Donne, and Day Lewis. In a less obvious but typically careful arrangement, \"Prufrock\" follows Hardy's \"Neutral Tones.\" Because of such revealing juxtapositions, and because of the handsome typography and spacing, Ulis volume is a worthy addition to the poetry shelf.","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122419276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Commentary","authors":"Tyrus Hillway","doi":"10.1353/rmr.1969.0028","DOIUrl":"https://doi.org/10.1353/rmr.1969.0028","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130270570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the spring of 1968, at the suggestion of the department diairman at Southern Oregon College, Roger Bacon and Lloyd Bridges were intrigued by the possibility of maximizing their literary differences as English instructors. Their differences were both real and apparent. Training, preference, and experience had led them to divergent approaches to and tastes in literature. For example, in the matter of training, Bacon was strongly influenced by the New Critics and "explication de texte" as a method, while Bridges' studies had prepared him to favor a philosophical, history-of-ideas approach. This naturally led to the old dichotomy of form (Bacon) versus content (Bridges). Bacon preferred the modern period, British literature, and lyric poetry in contrast to Bridges' preference for the Romantic period, American literature, and prose works. In presentational technique, Bacon relied primarily on the use of the formal lecture, whereas Bridges favored informal discussion. Evaluation, too, demonstrated the polarity of the pair. Bacon typically examined in the subjective mode, using open-ended essay questions in two exams per course; Bridges evaluated more frequently, favoring more objective type tests. However, they were agreed in believing that there were a variety of valid approaches for teaching literature, and that students in an introductory survey course of world literature would benefit from experiencing the counterpointing of at least two of these approaches on the same literary works in the same class at the same time. The typical team teaching arrangement wherein each member of the team merely presents his special area in a solo performance was not an appealing model to them. They proposed to team teach together, emphasizing and capitalizing their differences in the classroom, before students. This meant that both instructors would always be present, planning to interact with each other, the students, and the literature. Class meetings involved joint lectures, dialogue, debate between the instructors, and frequent give-and-take between the two instructors' view of "truth" and the third "truth," that of the students. The first benefit of this novel team approach was manifest in the construction of the course syllabus. Since thirty class meetings is an incredibly short time in which to present the whole of western literature, selection of works taught is crucial. Two instructors of divergent training and experience should be able to construct a more balanced curriculum than one instructor with one viewpoint, and to decrease the possibility of warping the tradition of western literature that is inherent with a single selector. This same principle, applied to the analysis, explication, and evaluation of a given work of
{"title":"Do Opposites Attract?: An Assessment of a Tensional Construct in Team Teaching","authors":"R. Bacon, Lloyd Bridges","doi":"10.1353/rmr.1973.0014","DOIUrl":"https://doi.org/10.1353/rmr.1973.0014","url":null,"abstract":"In the spring of 1968, at the suggestion of the department diairman at Southern Oregon College, Roger Bacon and Lloyd Bridges were intrigued by the possibility of maximizing their literary differences as English instructors. Their differences were both real and apparent. Training, preference, and experience had led them to divergent approaches to and tastes in literature. For example, in the matter of training, Bacon was strongly influenced by the New Critics and \"explication de texte\" as a method, while Bridges' studies had prepared him to favor a philosophical, history-of-ideas approach. This naturally led to the old dichotomy of form (Bacon) versus content (Bridges). Bacon preferred the modern period, British literature, and lyric poetry in contrast to Bridges' preference for the Romantic period, American literature, and prose works. In presentational technique, Bacon relied primarily on the use of the formal lecture, whereas Bridges favored informal discussion. Evaluation, too, demonstrated the polarity of the pair. Bacon typically examined in the subjective mode, using open-ended essay questions in two exams per course; Bridges evaluated more frequently, favoring more objective type tests. However, they were agreed in believing that there were a variety of valid approaches for teaching literature, and that students in an introductory survey course of world literature would benefit from experiencing the counterpointing of at least two of these approaches on the same literary works in the same class at the same time. The typical team teaching arrangement wherein each member of the team merely presents his special area in a solo performance was not an appealing model to them. They proposed to team teach together, emphasizing and capitalizing their differences in the classroom, before students. This meant that both instructors would always be present, planning to interact with each other, the students, and the literature. Class meetings involved joint lectures, dialogue, debate between the instructors, and frequent give-and-take between the two instructors' view of \"truth\" and the third \"truth,\" that of the students. The first benefit of this novel team approach was manifest in the construction of the course syllabus. Since thirty class meetings is an incredibly short time in which to present the whole of western literature, selection of works taught is crucial. Two instructors of divergent training and experience should be able to construct a more balanced curriculum than one instructor with one viewpoint, and to decrease the possibility of warping the tradition of western literature that is inherent with a single selector. This same principle, applied to the analysis, explication, and evaluation of a given work of","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124773024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It is my understanding, concerning the deeper meaning of Chaucer's poetry, that he rejects much of medieval reality and takes to a psychological view of life and man. I find in his poetry an original amalgam of definiteness-about the what and how of things-and a very modem vagueness, an awareness of and a capacity to use ambiguity. Much of what seems perplexingly ironic, strangely orthodox, or otherwise difficult to harmonize in his poetry answers to this view. His early poetry in particular I regard as a poetry of rejection. Orthodoxy he puts aside in The Book of the Duchess;1 conventionalized love in The Parliament of Fowls; and teleological order in The House of Fame. He thus sets aside much of medieval belief, it seems to me, because his intellect demanded, on the one hand, an empirical truth, and his new sense of person, on the other, could not tolerate a return to the collective morality of orthodoxy. In The Canterbury Tales Chaucer turns directly to human nature humanistically conceived. Personality, a child of intellect, was required to satisfy his new sense of reality.2 His move into pathedy,3 that is, into the drama of human emotions, became inevitable once he had withdrawn his faith from the medieval model, that is, emptied his faith, such as it was, of its literalness. Conventional allegory requires a structured, vital, and autonomous order, a meaningful world designed by God. Once this fails, allegory retreats further into man, into drama.4 It becomes, then, a structured correspondence, not between a theology and the world, but between human actions and their assumed significance. From an even further intellectualized position of the drama of the absurd, such assumed significance itself becomes as artificial as did earlier allegory to the first rationalism. Chaucer's
{"title":"Chaucer's Psychologizing of Virgil's Dido","authors":"R. Tripp","doi":"10.1353/RMR.1970.0013","DOIUrl":"https://doi.org/10.1353/RMR.1970.0013","url":null,"abstract":"It is my understanding, concerning the deeper meaning of Chaucer's poetry, that he rejects much of medieval reality and takes to a psychological view of life and man. I find in his poetry an original amalgam of definiteness-about the what and how of things-and a very modem vagueness, an awareness of and a capacity to use ambiguity. Much of what seems perplexingly ironic, strangely orthodox, or otherwise difficult to harmonize in his poetry answers to this view. His early poetry in particular I regard as a poetry of rejection. Orthodoxy he puts aside in The Book of the Duchess;1 conventionalized love in The Parliament of Fowls; and teleological order in The House of Fame. He thus sets aside much of medieval belief, it seems to me, because his intellect demanded, on the one hand, an empirical truth, and his new sense of person, on the other, could not tolerate a return to the collective morality of orthodoxy. In The Canterbury Tales Chaucer turns directly to human nature humanistically conceived. Personality, a child of intellect, was required to satisfy his new sense of reality.2 His move into pathedy,3 that is, into the drama of human emotions, became inevitable once he had withdrawn his faith from the medieval model, that is, emptied his faith, such as it was, of its literalness. Conventional allegory requires a structured, vital, and autonomous order, a meaningful world designed by God. Once this fails, allegory retreats further into man, into drama.4 It becomes, then, a structured correspondence, not between a theology and the world, but between human actions and their assumed significance. From an even further intellectualized position of the drama of the absurd, such assumed significance itself becomes as artificial as did earlier allegory to the first rationalism. Chaucer's","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114567217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Geo. Winchester Stone, G. Arms, R. Chadbourne, Jack Garlington, P. Moody
{"title":"The \"Coming of Age\" of RM-MLA","authors":"Geo. Winchester Stone, G. Arms, R. Chadbourne, Jack Garlington, P. Moody","doi":"10.1353/rmr.1967.0025","DOIUrl":"https://doi.org/10.1353/rmr.1967.0025","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123157963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Amos and Haggai: Sources of Thematic Motif and Stylistic Form in Ignacio Aldecoa's Con El Viento Solano","authors":"C. Carlisle","doi":"10.1353/RMR.1972.0006","DOIUrl":"https://doi.org/10.1353/RMR.1972.0006","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132635781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
To Jose Bento Monteiro Lobato (1882-1948), the conto or short story was not an easy genre because of its brevity. He found great contistas rarer than great novelists but suspected nonetheless that the novel was a form with greater possibilities for achievement, calling it "a epica dos tempos modemos e o campo dileto dos espiritos verdadeiramente criadores."' Though at times complaining of the difficulty and restrictions of the short-story form, he cast his own major work in that mold, attempting the novel only once.2 He stated his preference and his concept of the short story in a letter of 1909:
{"title":"Idea and Plot in the Stories of Monteiro Lobato","authors":"T. Brown","doi":"10.1353/RMR.1973.0018","DOIUrl":"https://doi.org/10.1353/RMR.1973.0018","url":null,"abstract":"To Jose Bento Monteiro Lobato (1882-1948), the conto or short story was not an easy genre because of its brevity. He found great contistas rarer than great novelists but suspected nonetheless that the novel was a form with greater possibilities for achievement, calling it \"a epica dos tempos modemos e o campo dileto dos espiritos verdadeiramente criadores.\"' Though at times complaining of the difficulty and restrictions of the short-story form, he cast his own major work in that mold, attempting the novel only once.2 He stated his preference and his concept of the short story in a letter of 1909:","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115372635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The MLA has approximately 30,000 members, of which fewer than 20 percent (only some 5,000) also belong to one of the regional associations. The six regional associations have a combined membership of approximately 10,000, so it follows that the other 5,000 regional members (roughly 50 percent) do not belong to the national MLA. Now, these are very interesting figures; the only problem is that I am not at all sure, even with a heavy dose of "roughlys" and "approximatelys," that they are accurate enough to be useful in any way. I didn't exactly make them up, but I came pretty close to doing just that. To atone for this sin of creativity I have another set of figures which I assure you are extremely accurate. The current PMLA Directory Issue reveals that from the eight states considered by the MLA to be in the Rocky Mountain Region (which should not be confused with the Rocky Mountain MLA) there are 952 MLA members. The current RMMLA Directory lists 383 members as belonging to the Regional, of which 279 come from these same eight states-Arizona, Colorado, Idaho, Montana, Nevada, New Mexico, Utah, and Wyoming. I do not know how many of the 279 are also MLA members, but I do know, because I counted them, that 196 (51.2 percent) of the total number of 383 listed as members of RMMLA are also listed as MLA members in the current PMLA Directory. If half of the 279 eight-state RMMLA members are also MLA members, then we have about 140 of the 952 (or 14.7 percent) as double members. These figures are so accurate as to turn one's stomach, but unfortunately they too have to be qualified because the MLA statistics were "peak figures" taken last April before membership drops, whereas the RMMLA figures are presumably taken this fall after drops for non-renewal. Moreover, the MLA has already added well over 1,000 new members since the time its September Directory went to press. Some of these no doubt come from the area in question, and I am sure new members have also been added to the RMMLA list. One tends to despair; we will never know for sure. If, however, it is true, as it is with the RMMLA, that 50 percent of a regional group belongs to the national group (and I think it probably works out on an average), and if there really are 10,000 regional members, then that means 5,000 belong to both MLA and a regional. Well, let us not worry about it; the number of double members is possibly 5,000-maybe it's 4,000, maybe it's 6,000-but let's say 5,000. Moreover, let us not worry at this time about the other 25,000 (or 83 percent) of MLA members who have not joined a regional; and by all means let us not even
{"title":"The Place of the Regional Associations in the MLA","authors":"W. D. Schaefer","doi":"10.1353/rmr.1972.0011","DOIUrl":"https://doi.org/10.1353/rmr.1972.0011","url":null,"abstract":"The MLA has approximately 30,000 members, of which fewer than 20 percent (only some 5,000) also belong to one of the regional associations. The six regional associations have a combined membership of approximately 10,000, so it follows that the other 5,000 regional members (roughly 50 percent) do not belong to the national MLA. Now, these are very interesting figures; the only problem is that I am not at all sure, even with a heavy dose of \"roughlys\" and \"approximatelys,\" that they are accurate enough to be useful in any way. I didn't exactly make them up, but I came pretty close to doing just that. To atone for this sin of creativity I have another set of figures which I assure you are extremely accurate. The current PMLA Directory Issue reveals that from the eight states considered by the MLA to be in the Rocky Mountain Region (which should not be confused with the Rocky Mountain MLA) there are 952 MLA members. The current RMMLA Directory lists 383 members as belonging to the Regional, of which 279 come from these same eight states-Arizona, Colorado, Idaho, Montana, Nevada, New Mexico, Utah, and Wyoming. I do not know how many of the 279 are also MLA members, but I do know, because I counted them, that 196 (51.2 percent) of the total number of 383 listed as members of RMMLA are also listed as MLA members in the current PMLA Directory. If half of the 279 eight-state RMMLA members are also MLA members, then we have about 140 of the 952 (or 14.7 percent) as double members. These figures are so accurate as to turn one's stomach, but unfortunately they too have to be qualified because the MLA statistics were \"peak figures\" taken last April before membership drops, whereas the RMMLA figures are presumably taken this fall after drops for non-renewal. Moreover, the MLA has already added well over 1,000 new members since the time its September Directory went to press. Some of these no doubt come from the area in question, and I am sure new members have also been added to the RMMLA list. One tends to despair; we will never know for sure. If, however, it is true, as it is with the RMMLA, that 50 percent of a regional group belongs to the national group (and I think it probably works out on an average), and if there really are 10,000 regional members, then that means 5,000 belong to both MLA and a regional. Well, let us not worry about it; the number of double members is possibly 5,000-maybe it's 4,000, maybe it's 6,000-but let's say 5,000. Moreover, let us not worry at this time about the other 25,000 (or 83 percent) of MLA members who have not joined a regional; and by all means let us not even","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125067293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Each of William Golding's novels is, in one form or another, a discussion of free will. While this is not especially rare in modem literature, Golding persistently resists the mainstream of thought by maintaining that man has a great amount of control over the success or failure of his existence and is not the victim of a chaotic, deterministic universe that so many modem artists prefer to imagine he is. Pincher Martin, for example, finally knows he ruined his own life and The Spires Jocelin is in the process of discovering the same about his. Most Golding heroes wait patiently for God, Nature, or just their best friend to show up and claim the blame; but in ,the end each walks off admitting his own. And so, a Golding novel usually attempts to present characters in the course of discovering their own culpability and to demonstrate, both artistically and philosophically, why it is necessary that they do so. His summary statement of his attitudes toward human freedom and guilt is presented, I feel, in Free Fall, a novel whose structure and argument are highly dependent upon Bergsonian psychology. While I have no evidence which assures that Golding read and comprehended Bergson, his interest in the general subject would make it probable that he did, and the discussions in his novels make it quite evident for me that he did. In terms of structure, Golcling nearly duplicates the manner in which Bergson says, in Matiere et Memoire, the memory operates and feeds data to the conscious intellect. With regard to argument, he seems to be positing the analysis of free will that Bergson presents in his Essai sur les immediates de la conscience. Rather than mere paraphrase, Golding's is a demonstration of identical concepts in poetic terms. Rather than being an assertive presentation of well-reasoned thought, Free Fall is the groveling search for awareness of one individual who obviously fears the implications a full understanding of free will brings with it. The similarities between Golding and Bergson are evident from the opening five pages of Free Fall, for here the narrator-a middle-aged artist named Samuel Mountjoy-pauses before he even begins to tell his story to establish the very special nature of the problem he is about to present to his readers. More than anything else, it is an attempt to pinpoint the exact moment in his life when, he is now quite sure, he made a free decision to dispose of his free will. He cannot remember having done it, but the choice has rendered him without volition and morally impotent for the rest of his life, or until age forty-two, the age at which he narrates.
威廉·戈尔丁的每一部小说都以这样或那样的形式讨论了自由意志。虽然这在现代文学中并不罕见，但戈尔丁坚持抵制主流思想，坚持认为人对自己存在的成功或失败有很大的控制权，并不是许多现代艺术家喜欢想象的混乱、决定论的宇宙的受害者。例如，Pincher Martin最终意识到他毁了自己的生活，而The Spires Jocelin也在发现他的生活的过程中。大多数戈尔丁英雄耐心地等待上帝、大自然，或者只是他们最好的朋友出现，并承担责任;但在最后，每个人都承认了自己的过错。因此，戈尔丁的小说通常试图呈现人物在发现自己的罪责的过程中，并从艺术和哲学上证明，为什么他们有必要这样做。我觉得，他在《自由落体》一书中总结了他对人类自由和内疚的态度，这部小说的结构和论点高度依赖于柏格森的心理学。虽然我没有证据证明戈尔丁阅读和理解了柏格森，但他对一般主题的兴趣可能使他这样做，而且他小说中的讨论对我来说很明显他这样做了。就结构而言，戈克林几乎复制了柏格森在《记忆与回忆》中所说的方式，即记忆运作并将数据提供给有意识的智力。关于论证，他似乎在假设柏格森在他的《Essai sur les immediates de la conscience》中提出的自由意志分析。戈尔丁的诗不是单纯的意译，而是用诗歌的方式展示了相同的概念。自由落体与其说是一个有充分理由的思想的自信呈现，不如说是一个人对意识的卑躬屈膝的探索，他显然害怕对自由意志的充分理解所带来的影响。戈尔丁和柏格森的相似之处从《自由落体》的开头五页就很明显了，因为这里的叙述者——一位名叫塞缪尔·芒乔伊的中年艺术家——在开始讲述他的故事之前停顿了一下，以确定他即将向读者呈现的问题的非常特殊的性质。最重要的是，它试图找出他生命中的确切时刻，他现在非常确定，他做出了一个自由的决定来处理他的自由意志。他不记得自己做了这件事，但这个选择使他失去了意志，在他的余生中，或者直到42岁，也就是他叙述的年龄，在道德上无能为力。
{"title":"Golding and Bergson: The Free Fall of Free Will","authors":"Jonathan K. Crane","doi":"10.1353/rmr.1972.0008","DOIUrl":"https://doi.org/10.1353/rmr.1972.0008","url":null,"abstract":"Each of William Golding's novels is, in one form or another, a discussion of free will. While this is not especially rare in modem literature, Golding persistently resists the mainstream of thought by maintaining that man has a great amount of control over the success or failure of his existence and is not the victim of a chaotic, deterministic universe that so many modem artists prefer to imagine he is. Pincher Martin, for example, finally knows he ruined his own life and The Spires Jocelin is in the process of discovering the same about his. Most Golding heroes wait patiently for God, Nature, or just their best friend to show up and claim the blame; but in ,the end each walks off admitting his own. And so, a Golding novel usually attempts to present characters in the course of discovering their own culpability and to demonstrate, both artistically and philosophically, why it is necessary that they do so. His summary statement of his attitudes toward human freedom and guilt is presented, I feel, in Free Fall, a novel whose structure and argument are highly dependent upon Bergsonian psychology. While I have no evidence which assures that Golding read and comprehended Bergson, his interest in the general subject would make it probable that he did, and the discussions in his novels make it quite evident for me that he did. In terms of structure, Golcling nearly duplicates the manner in which Bergson says, in Matiere et Memoire, the memory operates and feeds data to the conscious intellect. With regard to argument, he seems to be positing the analysis of free will that Bergson presents in his Essai sur les immediates de la conscience. Rather than mere paraphrase, Golding's is a demonstration of identical concepts in poetic terms. Rather than being an assertive presentation of well-reasoned thought, Free Fall is the groveling search for awareness of one individual who obviously fears the implications a full understanding of free will brings with it. The similarities between Golding and Bergson are evident from the opening five pages of Free Fall, for here the narrator-a middle-aged artist named Samuel Mountjoy-pauses before he even begins to tell his story to establish the very special nature of the problem he is about to present to his readers. More than anything else, it is an attempt to pinpoint the exact moment in his life when, he is now quite sure, he made a free decision to dispose of his free will. He cannot remember having done it, but the choice has rendered him without volition and morally impotent for the rest of his life, or until age forty-two, the age at which he narrates.","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129768584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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