John Graves's creative non-fiction has earned him respect in Texas letters as a seminal writer but scarce critical commentary of his work outside the region. Ecological criticism examines how language, culture and the land interact, providing a context in which to discuss Graves in relation to the southwestern literary tradition of J. Frank Dobie, Walter P. Webb, and Roy Bedichek, to southern pastoral in the Virgilian mode, and to American nature writing. Graves's rhetorical strategies, including his appropriation of form, his non-polemical voice, his experimentation with narrative persona, and his utilization of traditional tropes of metaphor, metonymy, and irony, establish him as a conservative and Romantic writer of place concerned with the friction between traditional agrarian values and the demands of late-twentieth-century urban/technological existence. Sequentially, Graves's three main booksGoodbye to a River (1960), Hard Scrabble (1974), and From a Limestone Ledge (1980)represent a movement from the pastoral mode of the outward journey and return to the more domestic world of georgic, from the mode of leisure and contemplation to the demands and rewards of hard work and ownership. As such they represent not only progression or maturation in the arc of the narrator's life but a desire to reconcile ideological poles first examined so long ago in Virgil: leisure and work, freedom and responsibility, rural and urban values.
George Eliot's fiction is filled with mentoring relationships which generally consist of a wise male mentor and a foolish, egotistic female mentee. The mentoring narratives relate the conversion of the mentee from narcissism to selfless devotion to the community. By retaining the Christian value of self-abnegation and the Christian tendency to devalue nature, Eliot, nominally a secular humanist who abandoned Christianity, reveals herself still to be a covert Christian. In Chapter 1 I introduce the moral mentoring theme and provide background material. Chapter 2 consists of an examination of Felix Holt, which clearly displays Eliot's crucial dichotomy: the moral is superior to the natural. In Chapter 3 I present a Freudian analysis of Gwendolen Harleth, the mentee most fully developed. In Chapter 4 I examine two early mentees, who differ from later mentees primarily in that they are not egotists and can be treated with sympathy. Chapter 5 covers three gender-modified relationships. These relationships show contrasting views of nature: in the Dinah Morris-Hetty Sorrel narrative, like most of the others, Eliot privileges the transcendence of nature. The other two, Mary Garth-Fred Vincy and Dolly Winthrop-Silas Marner, are exceptions as Eliot portrays in them a Wordsworthian reconciliation with nature. In Chapter 6 I focus on Maggie Tulliver, a mentee with three failed mentors and two antimentors. Maggie chooses regression over growth as symbolized by her drowning death in her brother's arms. In Chapter 7 I examine Middlemarch, whose lack of a successful standard mentoring relationship contributes to its dark vision. Chapter 8 contains a reading of Romola which interprets Romola, the only mentee whose story takes place outside nineteenth-century England, as a feminist fantasy for Eliot. Chapter 9 concludes the discussion, focusing primarily on the question why the mentoring theme was so compelling for George Eliot. In the Appendix I examine …
Drowning is a frequent mode of death for female literary characters because of the strong symbolic relationship between female sexuality and water. Drowning has long been a punishment for sexually transgressive women in literature. In the introduction, Chapter 1, I describe the drowning paradigm and analyze drowning scenes in several pre-twentieth century works to establish the tradition which twentieth-century women writers begin to transcend. In Chapter 2, I discuss three of Kate Chopin's works which include drownings, demonstrating her transition from traditional drowning themes in At Fault and “Desiree's Baby” to the drowning in The Awakening, which prefigures the survival of protagonists in later works. I discuss one of these in Chapter 3: Zora Neale Hurston's Their Eyes Were Watching God. Although Janie must rely on her husband to save her from the flood, she survives, though her husband does not. In Chapter 4, I discuss two stories by Eudora Welty, “Moon Lake” and “The Wide Net.” In “Moon Lake,” Easter nearly drowns as a corollary to her adolescent sexual awakening. Although her resuscitation is a brutal simulation of a rape, Easter survives. “The Wide Net” is a comic story that winks at the drowning woman tradition, showing a young bride who pretends to drown in order to recapture the affections of her husband. Chapter 5 analyzes a set of works by Margaret Atwood. Lady Oracle includes another faked drowning, while “The Whirlpool Rapids” and “Walking on Water” feature a protagonist who feels invulnerable after her near-drowning. The Blind Assassin includes substantial drowning imagery. Chapter 6 discusses current trends in near-drowning fiction, focusing on the river rafting adventure stories of Pam Houston.
Symphony No. 1 is an orchestral composition for twenty-four instrumental groups without percussion instruments. It was composed with Algorithmic Composition System software, which gives driving forces for composition to the composer through the diverse compositional methods largely based on physical phenomena. The symphony consists of three movements. It lasts about sixteen minutes and twenty-six seconds--five minutes and twenty-two seconds for the first movement, five minutes and forty seconds for the second movement, five minutes and twenty-four seconds for the third movement. Most musical components in the first movement of the symphony are considered embryos, which gradually begin developing through the second and third movements.
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