Western New Mexico University, a state-supported institution of higher learning, is located in Silver City at an elevation of 6,000 feet next to the sprawling Gila National Forest. The university, founded in 1893, celebrated its 75th anniversary in 1968, highlighted by a record-breaking fall semester increase in enrollment of 16.7 percent. Total enrollment for the 1968 fall semester was 1439 students as compared to 1233 students during the 1967 fall semester. The campus comprises 84 acres with 25 buildings or building groups valued at $6,500,000. Since 1957, nine new buildings have been completed on the campus at a cost of $3,700,000. Two new additions, planned for this spring or early summer, include a new laboratory-office building and an addition to the library, total cost around $900,000. The university offers the bachelor of arts degree in liberal arts and in teaching; also the bachelor of science degree in electronics technology and in medical technology. The university curriculum includes courses in 24 majors and minors. The master of arts degree is offered in teaching, school administration, and guidance and counseling. The university is accredited by or in full standing with nine national accrediting associations for undergraduate and graduate work. Located in the southwest part of the state, 150 miles northwest of El Paso, Texas; 200 miles east of Tucson and 300 miles east of Phoenix, Silver City is served by Frontier Airlines with two flights daily to Albuquerque, Tucson, and Phoenix. The department of language and literature offers the master of arts degree in English and is initiating graduate work in Spanish this summer. The department also offers majors in English and Spanish, and minors in French, theater, and drama. Special courses in speech designed to meet the needs of the school teacher are offered along with selected courses in journalism. The department publishes Western Review, a magazine dealing with the humanities, education, and the culture of Southwestern America. Scholarships, grants-in-aid, and other financial assistance are open to students. —Lewis A. Richards
西新墨西哥大学(Western New Mexico University)是一所由国家支持的高等教育机构，位于海拔6000英尺的银城，毗邻广阔的吉拉国家森林(Gila National Forest)。这所始建于1893年的大学在1968年庆祝了75周年校庆，秋季学期的入学人数增加了16.7%，打破了历史记录。1968年秋季学期的入学总人数为1439人，而1967年秋季学期的入学总人数为1233人。校园占地84英亩，有25栋建筑或建筑群，价值650万美元。自1957年以来，九座新建筑已在校园内完成，耗资370万美元。计划于今年春季或初夏增建的两座大楼包括一座新的实验室办公楼和一座图书馆，总成本约为90万美元。该大学提供文科学士学位和教学学士学位;还有电子技术和医疗技术的学士学位。大学课程包括24门专业和辅修课程。文学硕士学位提供教学，学校管理，指导和咨询。该大学由九个国家本科和研究生工作认证协会认证或完全认可。位于该州西南部，位于德克萨斯州埃尔帕索西北150英里处;银城位于图森以东200英里和凤凰城以东300英里处，由边境航空公司提供服务，每天有两班航班飞往阿尔伯克基、图森和凤凰城。语言文学系提供英语文学硕士学位，并在今年夏天开始西班牙语研究生课程。该系还开设英语和西班牙语专业，法语、戏剧和戏剧辅修专业。为满足学校教师的需要而设计的特殊演讲课程与新闻学的精选课程一起提供。该系出版《西部评论》杂志，内容涉及美国西南部的人文、教育和文化。奖学金、助学金和其他经济援助对学生开放。——路易斯·理查兹
{"title":"Western New Mexico University","authors":"Lewis A. Richards","doi":"10.1353/rmr.1969.0022","DOIUrl":"https://doi.org/10.1353/rmr.1969.0022","url":null,"abstract":"Western New Mexico University, a state-supported institution of higher learning, is located in Silver City at an elevation of 6,000 feet next to the sprawling Gila National Forest. The university, founded in 1893, celebrated its 75th anniversary in 1968, highlighted by a record-breaking fall semester increase in enrollment of 16.7 percent. Total enrollment for the 1968 fall semester was 1439 students as compared to 1233 students during the 1967 fall semester. The campus comprises 84 acres with 25 buildings or building groups valued at $6,500,000. Since 1957, nine new buildings have been completed on the campus at a cost of $3,700,000. Two new additions, planned for this spring or early summer, include a new laboratory-office building and an addition to the library, total cost around $900,000. The university offers the bachelor of arts degree in liberal arts and in teaching; also the bachelor of science degree in electronics technology and in medical technology. The university curriculum includes courses in 24 majors and minors. The master of arts degree is offered in teaching, school administration, and guidance and counseling. The university is accredited by or in full standing with nine national accrediting associations for undergraduate and graduate work. Located in the southwest part of the state, 150 miles northwest of El Paso, Texas; 200 miles east of Tucson and 300 miles east of Phoenix, Silver City is served by Frontier Airlines with two flights daily to Albuquerque, Tucson, and Phoenix. The department of language and literature offers the master of arts degree in English and is initiating graduate work in Spanish this summer. The department also offers majors in English and Spanish, and minors in French, theater, and drama. Special courses in speech designed to meet the needs of the school teacher are offered along with selected courses in journalism. The department publishes Western Review, a magazine dealing with the humanities, education, and the culture of Southwestern America. Scholarships, grants-in-aid, and other financial assistance are open to students. —Lewis A. Richards","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"7 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":"121090768","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}
Instituting a black literature program at any school can be a difficult process, but in the Rocky Mountain colleges and universities there are certain problems peculiar to the region, problems which may also exist in any school with similarly limited resources. In general, the difficulties faced by schools across the nation concern the areas of materials, staff and students. Materials may not seem a potential difficulty when one recalls the continuing barrage of publishers' brochures advertising new black studies books, but many of these books are aimed at the lucrative freshman composition market rather than at higher level literature courses. Books such as The Black Seventies, Racism: A Casebook, Another View: To Be Black in America, or Justice Denied: The Black Man in White America may be useful in introducing students to another frame of reference, as, for example, in a composition course or a beginning sociology course. However, they are of little use to the teacher who intends to survey the development of black literature or to study a particular genre. Even the anthologies devoted strictly to literature are usually unsatisfactory because they emphasize the contemporary at the expense of earlier works; for example, Dark Symphony, a basically good collection edited by James Emanuel and Theodore Gross, contains only sixty pages of "Early Literature," that published before 1920. Novels published before 1960 are frequently out of print or unavailable in paperback unless they are the work of the very best writers such as Wright, Ellison, or Baldwin. Criticism too is often inadequate or non-existent except in the case of the best-known black writers. In addition to the difficulties of finding paperback texts, teachers in these schools will probably find that the library holdings are quite inadequate. In 1968 I found that Wright and James Weldon Johnson were well represented in the University of New Mexico library, but many black writers were not. In addition to the expected deficiencies in nineteenth century works, such twentieth century writers as Jean Toomer, Ama Bontemps, Zora Neale Hurston, Chester Himes, and most novelists of the 1950's and 1960's were poorly represented or completely absent. The library had subscribed to Phylon for decades, but had only a few old copies of Negro Digest dating back to the 1940's. Loggins's The Negro Author (1931) was in the collection, but Sterling Brown's The Negro in American Fiction (1937) was not.
{"title":"Black Literature Programs—Special Problems of the Rocky Mountain Schools","authors":"R. Fleming","doi":"10.1353/RMR.1972.0015","DOIUrl":"https://doi.org/10.1353/RMR.1972.0015","url":null,"abstract":"Instituting a black literature program at any school can be a difficult process, but in the Rocky Mountain colleges and universities there are certain problems peculiar to the region, problems which may also exist in any school with similarly limited resources. In general, the difficulties faced by schools across the nation concern the areas of materials, staff and students. Materials may not seem a potential difficulty when one recalls the continuing barrage of publishers' brochures advertising new black studies books, but many of these books are aimed at the lucrative freshman composition market rather than at higher level literature courses. Books such as The Black Seventies, Racism: A Casebook, Another View: To Be Black in America, or Justice Denied: The Black Man in White America may be useful in introducing students to another frame of reference, as, for example, in a composition course or a beginning sociology course. However, they are of little use to the teacher who intends to survey the development of black literature or to study a particular genre. Even the anthologies devoted strictly to literature are usually unsatisfactory because they emphasize the contemporary at the expense of earlier works; for example, Dark Symphony, a basically good collection edited by James Emanuel and Theodore Gross, contains only sixty pages of \"Early Literature,\" that published before 1920. Novels published before 1960 are frequently out of print or unavailable in paperback unless they are the work of the very best writers such as Wright, Ellison, or Baldwin. Criticism too is often inadequate or non-existent except in the case of the best-known black writers. In addition to the difficulties of finding paperback texts, teachers in these schools will probably find that the library holdings are quite inadequate. In 1968 I found that Wright and James Weldon Johnson were well represented in the University of New Mexico library, but many black writers were not. In addition to the expected deficiencies in nineteenth century works, such twentieth century writers as Jean Toomer, Ama Bontemps, Zora Neale Hurston, Chester Himes, and most novelists of the 1950's and 1960's were poorly represented or completely absent. The library had subscribed to Phylon for decades, but had only a few old copies of Negro Digest dating back to the 1940's. Loggins's The Negro Author (1931) was in the collection, but Sterling Brown's The Negro in American Fiction (1937) was not.","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":"129431667","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":"RMMLA Past Presidents, VII: Collice H. Portnoff: 1963-64","authors":"V. Randall","doi":"10.1353/RMR.1969.0027","DOIUrl":"https://doi.org/10.1353/RMR.1969.0027","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"12 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":"114995041","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 perhaps unjamesian for a study of a James novel to draw attention to a seemingly self-evident and, by now, a tired modem problem. But at the risk of sounding aphoristic, the significance of the obvious is often slighted in extended analyses because it is supposedly self-explanatory. Thus, despite the continued critical interest that The Princess Casamassima has generated in the last twenty years, what I take to be its central theme—the relation between love and identity—has received curiously abbreviated critical treatment in this important transitional work.1 As a case in point, Lionel Trilling, in what is perhaps the most sensitive essay on the novel in the Fifties, observes in passing that "It is as a child that Hyacinth Robinson dies; that is, he dies of the withdrawal of love."2 The insight is acute, but the major thrust of his essay, hke so many commentaries contemporary with Trilling's, is primarily concerned with the social and political aspects of the novel to the neglect of its central truth. Reduced to its essence, the novel emerges as a study of how love galvanizes Hyacinth's identity into being and how lovdessness destroys it. As a form of thematic counterpoint, James explores the personal desperation of the Princess Casamassima and Lady Aurora, women whose futility and pointlessness lend perspective to the problems of his protagonist. Among recent critics, John L. Kimmey argues convincingly that there "is no more ambiguous [and bewildered] figure in all James," but unconvincingly that Hyacinth is tragic.8 While enlarging our understanding of
对詹姆斯小说的研究将人们的注意力吸引到一个看似不言自明，但到目前为止已经过时的现代问题上，这可能是不符合詹姆斯风格的。但冒着警句般的风险，显而易见的重要性在扩展分析中往往被忽视，因为它被认为是不言自明的。因此，尽管《卡萨马西玛公主》在过去二十年里引起了评论界的持续关注，但我认为它的中心主题——爱与身份之间的关系——在这部重要的过渡性作品中却得到了奇怪的简短评论作为一个恰当的例子，莱昂内尔·特里林(Lionel Trilling)在一篇或许是50年代关于这部小说最敏感的文章中，顺便写道:“风信子·罗宾逊(Hyacinth Robinson)死时还是个孩子;也就是说，他死于爱的缺失。他的见解是敏锐的，但他的文章的主要推力，就像许多与特里林同时代的评论一样，主要关注小说的社会和政治方面，而忽视了它的中心真理。从本质上讲，这部小说的出现是为了研究爱情是如何激发风信子的身份，以及爱情是如何摧毁它的。作为主题对位的一种形式，詹姆斯探索了卡萨马西玛公主和奥罗拉夫人的个人绝望，她们的无用和无意义为主人公的问题提供了视角。在最近的评论家中，约翰·l·金米(John L. Kimmey)令人信服地认为，“在整个詹姆斯中，没有比风信子更模棱两可(和困惑)的人物了”，但令人难以置信的是，风信子是一个悲剧同时扩大了我们对
{"title":"Love, Identity, and Death: James' The Princess Casamassima Reconsidered","authors":"J. Salzberg","doi":"10.1353/RMR.1972.0005","DOIUrl":"https://doi.org/10.1353/RMR.1972.0005","url":null,"abstract":"It is perhaps unjamesian for a study of a James novel to draw attention to a seemingly self-evident and, by now, a tired modem problem. But at the risk of sounding aphoristic, the significance of the obvious is often slighted in extended analyses because it is supposedly self-explanatory. Thus, despite the continued critical interest that The Princess Casamassima has generated in the last twenty years, what I take to be its central theme—the relation between love and identity—has received curiously abbreviated critical treatment in this important transitional work.1 As a case in point, Lionel Trilling, in what is perhaps the most sensitive essay on the novel in the Fifties, observes in passing that \"It is as a child that Hyacinth Robinson dies; that is, he dies of the withdrawal of love.\"2 The insight is acute, but the major thrust of his essay, hke so many commentaries contemporary with Trilling's, is primarily concerned with the social and political aspects of the novel to the neglect of its central truth. Reduced to its essence, the novel emerges as a study of how love galvanizes Hyacinth's identity into being and how lovdessness destroys it. As a form of thematic counterpoint, James explores the personal desperation of the Princess Casamassima and Lady Aurora, women whose futility and pointlessness lend perspective to the problems of his protagonist. Among recent critics, John L. Kimmey argues convincingly that there \"is no more ambiguous [and bewildered] figure in all James,\" but unconvincingly that Hyacinth is tragic.8 While enlarging our understanding of","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"43 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":"114923998","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 has been recognized for some time that primitive man's relationship to the world was somewhat different from our own. His relationship is usually referred to by us as one of "participation" since he apparently lacked the strong sense of personal identity which characterizes modem man, and saw himself as much more a part of the world around him. His sense of identity lay in his relationship to his gods as established through ritual, which is the essence of his religion and which is eventually systemized into what we recognize as myth. The importance of myth and ritual to the life of the primitive cannot be overstressed. Mircea Eliade states in Cosmos and History that, "among primitives, not only do rituals have their mythical model but any human act whatever acquires effectiveness to the extent to which it exactly repeats an act performed at the beginning of time by a god, a hero, or an ancestor."1 The primitive's sense of what is real and of his own identity were intimately associated with ritual. Eliade remarks that, "An object or an act becomes real only insofar as it imitates or repeats an archetype. Thus, reality is acquired solely through repetition or participation; everything which lacks an exemplary model is 'meaningless,' i.e., it lacks reality . . . he (the primitive) sees himself as real, i.e., as 'truly himself,' only, and precisely, insofar as he ceases to be so."2 The transitional nature of the medieval mind accounts at least in part for the peculiar mixture of myth, legend, and history in earlier English histories. Probably all of the romances as well as the histories have both mythical and modem elements since the very concepts of history and hterature as written expression require a degree of modem sensibility. One of the characteristics of the earliest hterature is a lack of interest in form as such. Since the myth is considered simply to be "true," to impose a form upon it would be, to the mind of the primitive, a violation of reality. It therefore follows that in primitive hterature there is much that we would
{"title":"The Medieval Mind in \"Sir Gawain and the Green Knight\"","authors":"Dean Loganbill","doi":"10.1353/RMR.1972.0002","DOIUrl":"https://doi.org/10.1353/RMR.1972.0002","url":null,"abstract":"It has been recognized for some time that primitive man's relationship to the world was somewhat different from our own. His relationship is usually referred to by us as one of \"participation\" since he apparently lacked the strong sense of personal identity which characterizes modem man, and saw himself as much more a part of the world around him. His sense of identity lay in his relationship to his gods as established through ritual, which is the essence of his religion and which is eventually systemized into what we recognize as myth. The importance of myth and ritual to the life of the primitive cannot be overstressed. Mircea Eliade states in Cosmos and History that, \"among primitives, not only do rituals have their mythical model but any human act whatever acquires effectiveness to the extent to which it exactly repeats an act performed at the beginning of time by a god, a hero, or an ancestor.\"1 The primitive's sense of what is real and of his own identity were intimately associated with ritual. Eliade remarks that, \"An object or an act becomes real only insofar as it imitates or repeats an archetype. Thus, reality is acquired solely through repetition or participation; everything which lacks an exemplary model is 'meaningless,' i.e., it lacks reality . . . he (the primitive) sees himself as real, i.e., as 'truly himself,' only, and precisely, insofar as he ceases to be so.\"2 The transitional nature of the medieval mind accounts at least in part for the peculiar mixture of myth, legend, and history in earlier English histories. Probably all of the romances as well as the histories have both mythical and modem elements since the very concepts of history and hterature as written expression require a degree of modem sensibility. One of the characteristics of the earliest hterature is a lack of interest in form as such. Since the myth is considered simply to be \"true,\" to impose a form upon it would be, to the mind of the primitive, a violation of reality. It therefore follows that in primitive hterature there is much that we would","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"9 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":"121892070","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 history of American language and literature Edward Eggleston has a secure reputation both as an important regional novelist of the nineteenth century and as a remarkably enlightened amateur linguist. Although none of Eggleston's novels have ever been widely acclaimed by elitist literary critics, his first novel, The Hoosier School-Master, was an instant popular success when it was first serialized in Hearth and Home magazine in 1871, it has had continuous popularity now for over a century,l and it is regularly on the required reading lists of college courses devoted to the American novel.2 The popularity of the book stems in part from its regional realism, but without question the most important aspect of The Hoosier SchoolMaster is Eggleston's use of dialect. Writing in the preface to the 1892 library edition of the book, Eggleston correctly observed that The Hoosier SchoolMaster was "the file-leader of the procession of American dialect novels" in the 1870's and 80's.3 Eggleston's chief critic and biographer, William Randel, also stressed the importance of the use of dialect in The Hoosier SchoolMaster:
{"title":"Toward a Reassessment of Edward Eggleston's Literary Dialects","authors":"G. N. Underwood","doi":"10.1353/RMR.1974.0006","DOIUrl":"https://doi.org/10.1353/RMR.1974.0006","url":null,"abstract":"In the history of American language and literature Edward Eggleston has a secure reputation both as an important regional novelist of the nineteenth century and as a remarkably enlightened amateur linguist. Although none of Eggleston's novels have ever been widely acclaimed by elitist literary critics, his first novel, The Hoosier School-Master, was an instant popular success when it was first serialized in Hearth and Home magazine in 1871, it has had continuous popularity now for over a century,l and it is regularly on the required reading lists of college courses devoted to the American novel.2 The popularity of the book stems in part from its regional realism, but without question the most important aspect of The Hoosier SchoolMaster is Eggleston's use of dialect. Writing in the preface to the 1892 library edition of the book, Eggleston correctly observed that The Hoosier SchoolMaster was \"the file-leader of the procession of American dialect novels\" in the 1870's and 80's.3 Eggleston's chief critic and biographer, William Randel, also stressed the importance of the use of dialect in The Hoosier SchoolMaster:","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123134630","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}
Richard Wright's Black Boy has long been recognized as one of the classics of protest literature because it exposes the negative impact of a racist environment upon the development of the human personality on even the most basic levels of physical and social maturation. This theme of the autobiographical Black Boy has a corollary, namely, that such a racist environment almost inevitably precludes the development of the human personality on the higher planes of existence, such as the intellectual, philosophical, and aesthetic, because it forces the individual to concentrate his full energies upon the task of merely surviving. Wright had originally entitled his autobiography "American Hunger," a title which better focused the multi-level nature of Richard's quest for selfactualization in the midst of an overwhelmingly hostile environment. Most obvious is the connection between that environment and Richard's struggle for the bare essentials of subsistence food, clothing, shelter, friendship, and security. But unlike Shorty and Griggs, who have been "stunted" by that environment and emerge in Black Boy as individuals concerned entirely with the bare essentials of physical survival, Richard constantly struggles to transcend the limitations of that environment. Wright presents the young Richard as an individual driven to seek out the "grand design" of life, at first as a means of understanding his peculiar personal circumstances and experience, and, by the story's end, as the basis for an artistic vision which will serve him in his struggle to become an artist. As in James Joyce's Portrait of the Artist, to which Black Boy owes much, imagination plays a key role in young Richard's relationship to external reality. From the very outset of Black Boy, Wright endows Richard with an active and fertile imagination that gradually creates in the hero an organic awareness that life's possibilities are not limited to the bleakness of the reality in which he lives. More specifically, in Wright's controlled description of life in the South, environment characteristically limits Richard's experience in almost every incident to the negative dimensions of boredom, hunger, anger, and hatred, all of which are barriers to experience of a positive nature. Imagination becomes Richard's only tool or weapon for wresting from such an environment experiences which could be characterized as positive and healthy.
理查德·赖特的《黑人男孩》一直被认为是抗议文学的经典之一，因为它揭示了种族主义环境对人类个性发展的负面影响，甚至是在最基本的身体和社会成熟层面上。《黑人男孩》自传体的这个主题有一个必然的结果，即这样一个种族主义的环境几乎不可避免地阻碍了人类人格在更高层次上的发展，比如智力、哲学和美学，因为它迫使个人把全部精力集中在仅仅是生存的任务上。赖特最初将他的自传命名为“美国人的饥饿”，这个标题更好地集中了理查德在一个充满敌意的环境中寻求自我实现的多层次本质。最明显的是，这种环境与理查德为维持基本生活必需品——食物、衣服、住所、友谊和安全——而奋斗之间的联系。但不像矮子和格里格斯，他们在那种环境中“发育不良”，在《黑男孩》中表现为完全关注身体生存的基本要素的个体，理查德一直在努力超越那种环境的限制。赖特把年轻的理查德描绘成一个被驱使去寻找人生“伟大设计”的人，起初是作为理解他特殊的个人环境和经历的一种手段，到故事的结尾，作为艺术视野的基础，这将为他成为艺术家的努力服务。正如詹姆斯·乔伊斯(James Joyce)的《艺术家肖像》(Portrait of the Artist)中一样，想象在小理查德与外部现实的关系中起着关键作用。从《黑男孩》一开始，赖特就赋予了理查德活跃而丰富的想象力，逐渐使主人公有机地意识到生活的可能性并不局限于他所生活的现实的凄凉。更具体地说，在赖特对南方生活的有节制的描述中，环境特征地将理查德在几乎所有事件中的经历限制在无聊、饥饿、愤怒和仇恨等消极方面，所有这些都是体验积极本质的障碍。想象成为理查德唯一的工具或武器，从这样一个环境中获得可以被描述为积极和健康的体验。
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Although the complexity of Chaucer's most puzzling pilgrim, the Pardoner, has elicited a variety of critical reactions, the best recent scholarship elucidates the religious patterns in his portrait and tale.1 For example, A. L. Kellog studies the Pardoner as an illustration in Augustinian terms of spiritual degeneration, the secret punishment of sin,' and Robert P. Miller interprets the Pardoner's character through comparison with the Scriptural eunuch, concluding that he is spiritually, as well as physically, impotent.3 The present study extends this religious approach by considering imagery of transubstantiation and transformation in the Pardoner's Tale. In traditional Christian terms, the Pardoner, unable to participate in Christ's sacrificial act through the transubstantiation rite of the Mass, transforms his works into meaningless material successes only, not into spiritual achievement. Interestingly enough, the dynamics of this personality development are corroborated by the modern religious psychology of Carl Jung. The positioning of the Pardoner's typical sermon within the sacrifice of the Mass creates religious implications of considerable importance in a reading of his character. Unfortunately, criticism has not considered the typical setting of the Pardoner's histrionics as thoroughly as the scene of the recorded performance on the Canterbury pilgrimage. The General Prologue demonstrates that he usually speaks at the Offertory of the Mass:
尽管乔叟笔下最令人费解的朝圣者“赦免者”的复杂性引发了各种各样的批评反应，但最近最好的学术研究阐明了他的肖像和故事中的宗教模式例如，a·l·凯洛格(A. L. Kellog)将赦免者作为奥古斯丁精神堕落的例证，即对罪恶的秘密惩罚，而罗伯特·p·米勒(Robert P. Miller)通过与圣经中的太监的比较来解释赦免者的性格，得出结论认为他在精神上和身体上都是无能为力的本研究通过考虑《赦免者的故事》中的变形和转化意象来扩展这种宗教方法。在传统的基督教术语中，赦免者不能通过弥撒的变形仪式参与基督的牺牲行为，只能将他的作品转化为无意义的物质成功，而不是精神成就。有趣的是，卡尔·荣格的现代宗教心理学证实了这种人格发展的动力。宽恕者的典型布道在弥撒献祭中的定位在解读他的性格时创造了相当重要的宗教含义。不幸的是，批评并没有像坎特伯雷朝圣时记录的表演场景那样彻底地考虑到赦免者的典型表演。总序表明他通常在弥撒的奉献礼上讲话
{"title":"Transubstantiation in the Pardoner's Tale","authors":"Joseph R. Millichap","doi":"10.1353/RMR.1974.0003","DOIUrl":"https://doi.org/10.1353/RMR.1974.0003","url":null,"abstract":"Although the complexity of Chaucer's most puzzling pilgrim, the Pardoner, has elicited a variety of critical reactions, the best recent scholarship elucidates the religious patterns in his portrait and tale.1 For example, A. L. Kellog studies the Pardoner as an illustration in Augustinian terms of spiritual degeneration, the secret punishment of sin,' and Robert P. Miller interprets the Pardoner's character through comparison with the Scriptural eunuch, concluding that he is spiritually, as well as physically, impotent.3 The present study extends this religious approach by considering imagery of transubstantiation and transformation in the Pardoner's Tale. In traditional Christian terms, the Pardoner, unable to participate in Christ's sacrificial act through the transubstantiation rite of the Mass, transforms his works into meaningless material successes only, not into spiritual achievement. Interestingly enough, the dynamics of this personality development are corroborated by the modern religious psychology of Carl Jung. The positioning of the Pardoner's typical sermon within the sacrifice of the Mass creates religious implications of considerable importance in a reading of his character. Unfortunately, criticism has not considered the typical setting of the Pardoner's histrionics as thoroughly as the scene of the recorded performance on the Canterbury pilgrimage. The General Prologue demonstrates that he usually speaks at the Offertory of the Mass:","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125728412","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":"Neoplatonism in Marvell's \"On a Drop of Dew\" and \"The Garden\"","authors":"Joan F. Adkins","doi":"10.1353/RMR.1974.0018","DOIUrl":"https://doi.org/10.1353/RMR.1974.0018","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128161629","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}
Whenever, for example, I read Paradise Lost, I, 44-58 (the long shot of Satan's fall from Heaven to Hell, the panorama of the rebels rolling in the lake of fire, the sudden close-up of Satan's afflicted eyes), I feel that I am experiencing a passage which, though its effects may have been suggested by the spatial surprises of Baroque architecture, is facilitated for me, and not misleadingly, by my familiarity with screen techniques. If this reaction is not anachronistic foolishness, it follows that one must be wary in attributing this or that aspect of any contemporary work to the influence of film.1
{"title":"Cinematic Devices in Richard Wilbur's Poetry","authors":"H. Taylor","doi":"10.1353/RMR.1974.0005","DOIUrl":"https://doi.org/10.1353/RMR.1974.0005","url":null,"abstract":"Whenever, for example, I read Paradise Lost, I, 44-58 (the long shot of Satan's fall from Heaven to Hell, the panorama of the rebels rolling in the lake of fire, the sudden close-up of Satan's afflicted eyes), I feel that I am experiencing a passage which, though its effects may have been suggested by the spatial surprises of Baroque architecture, is facilitated for me, and not misleadingly, by my familiarity with screen techniques. If this reaction is not anachronistic foolishness, it follows that one must be wary in attributing this or that aspect of any contemporary work to the influence of film.1","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123044899","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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