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20. With Shadows and with Song: Learning, Listening, Teaching

Edited by Steven T Katz and Alan Rosen Indiana University Press ePub

LEARNING, LISTENING, TEACHING

ALAN ROSEN

AN EARLY 1963 ESSAY by Elie Wiesel is of a piece with most of those collected in his book Legends of Our Time. Titled “My Teachers,” it tells of key figures who made up life in Sighet, the author's hometown.1 When the author wrote it, he was not a teacher but a writer. And it would be a decade before he embraced the path of teaching.

But the essay “My Teachers,” ahead of its time in some respects, also turns out to be essentially about writing, and thus is relevant, even indispensable, when considering Wiesel's literary vocation. Indeed, the essay reveals the underpinnings of the writer in the course of paying tribute to the teachers. Moreover, it shows the debt to be reciprocal in that teaching is preserved by writing. But I want to suggest that the influence of one on the other is even more palpable.

First and foremost a writer, Wiesel had a path to the classroom that did not take place overnight. Rather than take for granted the fact of his being a classroom teacher, I want to ask, What had to happen in order for that to take place? What had to change in order for that to become a possibility and actuality? The entry into the classroom was bound up with several other watershed events, personal and professional. So while the role as classroom teacher is interesting in its own right, it also, especially in association with these other events, marks an important “new path” in Wiesel's career. Indeed, it may mark a divide, an opening up of several new directions that have become so much a part of Wiesel's vocation that it is hard to recall that there was time before.

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Chapter Five

Scott Russell Sanders Indiana University Press ePub

The image of Teeg squatting beside the map screen kept burning in Phoenix’s mind. The geography of Oregon and the imagined geography of her body merged for him into one sensuous landscape. He tried calling her after the evening of maps, to apologize, to arrange a walk, anything to be near her. But her answering tapes informed him she was meditating, she was at the clinic, she was on a repair mission, always somewhere painfully out of reach. He could not have felt a greater craving for her if they had sparred through all twelve stages of the mating ritual.

When he finally did track her down, overtaking her at the bottom of the firestairs as she began her daily seventy-story climb, she told him she was about to leave for a two-week seminar in Alaska City. Something to do with thermionics.

“Look, can I go with you?”

“Phoenix—”

“I can arrange leave. We can talk after your classes. We can walk in the disney there. It’s a fine one—famous—with mechanoes of beasts from all the continents—”

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Humility

Zach Savich Center for Literary Publishing ePub

for David Bartone

A ladder built into the exterior of a truck,
all anything does is confide, every morning

beginning now, decency its own kind
of constitution, each step onto a balcony or

from a café with little outdoor seating,
not counting the city. “What year

is that from,” the mother says. “First century
AD,” says her son. “But that’s a hundred

years.”

for Jeff Downey

We proceed by pattern and anomaly, had
no money but lived above a bakery

and a florist, just-aged flowers free
in a trough. I liked how you called the street

I always take “the secret way,” two fingers
held to a passing dog.

for Hilary Plum

We go to the cinema merely
for the light, view of alleys

from a balcony, to be in
the world and it is mythic:

zinnia market in the churchyard,
onions in mesh, daylit moon

a watermark on foreign currency.

1.

I sang: Tell me of the heart which exists
in which to continue is not
to confine

2.

Then dreamed I sang so loudly, I woke
myself singing

The cygnets’ feet were lost in snow

The cygnets were lovely because footless

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22. The Architecture of Theories [Initial Version]

Charles S. Peirce Indiana University Press PDF

22

The Architecture of Theories

[Initial Version]

July-August 1890

Houghton Library

Of the fifty or hundred systems of philosophy that have been advanced at different times of the world’s history, perhaps the larger number have been, not so much results of historical evolution, as happy thoughts which have accidentally occurred to their authors. An idea which has been found interesting and fruitful has been adopted, developed, and forced to yield explanations of all sorts of phenomena. The

English have been particularly given to this way of philosophizing; witness, Hobbes, Hartley, Berkeley, James Mill. Nor has it been by any means useless labour; it shows us what the true nature and value of the ideas developed are, and in that way affords serviceable materials for philosophy. Just as if a man, being seized with the conviction that paper was a good material to make things of, were to go to work to build a papier mâché house, with roof of roofing-paper, foundations of pasteboard, windows of paraffined paper, chimneys, bath tubs, locks, etc., all of different forms of paper, his experiment would probably afford valuable lessons to builders, while it would certainly make a detestable house, so those one-idea’d philosophies are exceedingly interesting and instructive, and yet are quite unsound.

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27. The Basis of Pragmaticism in the Normative Sciences (1906)

Edited by the Peirce Edition Project Indiana University Press ePub

 

MS 283. [Only a small part was published in CP 1.573–74, 5.448n, and 5.549–54. This paper, which was mostly composed in January 1906, is Peirce’s sixth attempt at writing his third Monist paper “The Basis of Pragmaticism.” The words “in the Normative Sciences” have been added to the title of this version.] How does one do philosophy? A proof of pragmaticism will have to be understood from the perspective of our answer to this question. Peirce sets out to situate philosophy among the “heuretic” sciences, and to characterize its purpose and method. He returns to a consideration of experience, here characterized as a “male” intrusion into the mind, the “female” field of available consciousness. From this union, knowledge is born. This is Aristotle’s idea of growth: first, the idea; second, the act; third, the life-giving principle. In selection 26, Peirce had considered why we should expect to find three fundamental elements in experience; here he examines why we should expect philosophy to separate naturally into three departments corresponding to the three kinds of experience. It is the second department, normative science, that becomes the main focus of this article, and the basis for Peirce’s proof of pragmaticism. All three normative sciences—esthetics, ethics (practics), and logic—are essential, but it is logic, the general theory of signs, that is now seen to be the key to the proof.

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Chapter Seven

Scott Russell Sanders Indiana University Press ePub

Is it the wilds he’s hungry for—or is it only me? Teeg could not decide. His eyes would glaze over whenever she told him about the wilderness. But then, his eyes glazed over and his breathing quickened whenever she leaned close to tell him anything. He was so ensnarled in the mating rigmarole that she would probably be disentangling him for months before they could actually make love. In the meantime, whether or not he was hungering for the wilds, he was certainly hungering for her, and that appetite would have to do, until she could deliver him into the wilderness. Once he was outside, the sea and forest could work on him. If she had to be the bait that lured him out there, then bait she would be.

She had already reported to the other seekers, after her two weeks of prospecting, that Whale’s Mouth Bay would make an ideal location for the settlement. Tonight, when the crew met for an ingathering, she must speak with them about Phoenix, before his passion cooled or his wilderdread returned.

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7 METAPHYSICAL POETRY

Kenneth Verity Shepheard-Walwyn ePub

At the still point of the turning world.

THUS, IN Burnt Norton – the opening section of Four Quartets – T.S. Eliot speaks of the mysterious locus which is ‘neither flesh nor fleshless; neither from nor towards’. Eliot continues: ‘at the still point, there the dance is, but neither arrest nor movement. And do not call it fixity.’ The poet insists that, ‘Except for the point, the still point, there would be no dance, and there is only the dance.’ This enigmatic, secret something, somewhere is often conveniently, but somewhat lamely, designated ‘metaphysical’.

In The Big Questions (1986) Robert Solomon says that philosophy – metaphysics in particular – is an interpretation of the world: our attempt to make sense of it and determine what in it is real. A modern dictionary describes metaphysics as the branch of abstruse study concerned with the nature and theory of knowledge – an area of considerable uncertainty. The term metaphysics derives from the title given to a group of Aristotle’s writings by the philosopher Andronicus of Rhodes in the 1st century BC. Aristotle said that the forms of things are in themselves and have no separate existence. For him, metaphysics was simply ‘beyond physics’. The Greek word metaphusika means the works of Aristotle ‘after the Physics’.

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9 - Sampling the Sonics of Sex (Funk) in Paul Beatty's Slumberland

Edited by Lovalerie King and Shirley Moo Indiana University Press ePub

L. H. STALLINGS

For the nigger, it niggereth everyday.

CHARLES SCHWA

Afro-German identity emerged as a relational concept where the construction of race/blackness and identity are constituted through a sense of community and relation both to those positioned in similar ways, as well as to the discourses and categories of racial difference and identity through which this process of positioning is enacted. Black German identity is thus the product and process of importing individual, social, and cultural meanings to blackness as a strategic form of self-definition and identification.

TINA CAMPT

Blackness. Even as historians and critics have attempted to articulate the historical beginning of blackness, as well as the modernity of it, who can say when or where this phenomenon of blackness, a force akin to the start of a world religion rather than the beginning of a racial identity, will end. Though in vastly different contexts, scholar Tina Campt and Charles Schwa—a minor but important character from Paul Beatty's novel Slumberland—provide insights as to how American and German black identity might be conceptualized, while also privileging the experience of being black over the debates that race is a false social construct. The question as to whether there is, in fact, an end to blackness is one of the major considerations of this essay, which examines how contemporary African American literary and cultural theories have grappled with and continue to grapple with this question. Through a close reading of Paul Beatty's Slumberland, and through an engagement with scholars' focus on periodizing African American literary and cultural traditions, I explore how black literary production and blackness itself resists moves to mark it. I suggest that critics must form new conceptualizations of time and space in order to change the trajectory of future discourses about race and racial identity. Standard, western, or straight time may be useful for charting the representations or performances of blackness, but they have often failed to fully delineate the experience of being black. In Slumberland, Beatty proposes that rhythmless constructs of time can never represent indeterminate blackness. Further, as he diagrams this blackness as the funkiest break beat1 in the world, his novel implores people of the African Diaspora to form complex identities that elide restrictions of time and space imposed on black bodies and communities by tradition, nation, and modernity.

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A Jolly Good Show: How the British Saw Their Empire

Iain Bamforth Carcanet Press Ltd. PDF

A Jolly Good Show

H  B S T E

Well known for his trenchant views on the monarchy in its years of decline, David Cannadine, in his new book Ornamentalism, extends some of his earlier work on class in Britain to the janissary cosmopolis that was once the British Empire. Now that it has ended up as pap for televisual nostalgia, where it is often portrayed as a Retreat for Gracious Living (which it surely was for some: mansions with the Queen’s portrait can still be found perched among the tea plantations of Sri Lanka and may even still straddle the very exclusive crest of Victoria Peak on Hong Kong Island),

Cannadine seeks to give us a view from the inside – a view of the

Empire as a social entity rather than a political construct, even though that is pre-eminently what it was. What attitudes kept the

Empire on the stage of world history until the last scene of its last act in , the year the author was born? One influential view holds that it was a ramshackle edifice acquired by men who knew not what they did (and who lost it with similar nonchalance);

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24. Conscience

Edited by Steven T Katz and Alan Rosen Indiana University Press ePub

IRWIN COTLER

ELIE WIESEL HAS COME to embody conscience, not only for Jews but for humanity as a whole. Indeed, when the Nobel Committee awarded Wiesel the Nobel Peace Prize in 1986, the choice was greeted with international acclaim, for it is difficult to imagine any citizen in the world who has so commanded the respect and attention of political leaders and the people themselves. One suspects that, if the Nobel Committee had awarded Wiesel the Nobel Prize for literature, the acclaim would have been no less.

Wiesel writes, as the title of one of his books suggests, as a “Soul on Fire.” That flame not only has animated the literary imagination, it has ignited the struggle for peace and human rights worldwide. His eloquence is all the more remarkable because, as he puts it, the Holocaust is beyond vocabulary. In matters such as these, language mocks reality. Yet the man who argues that Auschwitz and Birkenau are beyond communication and comprehension has conveyed not only the particularity of the horror but also the universality of its lessons.

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The Last Culture Broth: Bernard Pivot’s Bookshow

Iain Bamforth Carcanet Press Ltd. PDF

The Last Culture Broth

B P’ B

How does the Brassens’ charity song go? – ‘Quand le croqu’-mort t’emportera…’

The undertaker’s mute came on  June for the th transmission of Bernard Pivot’s famous Friday night programme,

Bouillon de culture. For the past eleven years, for an hour and a half around  p.m. on France’s second public channel, France Deux,

Bouillon de culture offered little more than the prospect of an affable middle-aged man with sartorially suspect ties talking to guests about books they had written. For his last outing on air before retiring, ‘Stock-taking before final closure,’ a panel of twelve guests commented on highlights from a decade of Pivot’s being passionate about books. He had even invited the American talkshow host James Lipton, who does a good funeral, to talk in

English. Lipton was apparently doing public penance for having purloined for his own show Pivot’s questionnaire, a series of trite questions tossed to guests at the end of proceedings. ‘If heaven exists what would you like to hear God say when you arrive at the pearly gates?’ (Answer: ‘Get off my show.’)

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Medium 9780253020659

Introduction: Mediterraneans and Migrations in the Global Era

Hakim Abderrezak Indiana University Press ePub

I am neither French nor Moroccan, I am in between. I am Spanish!

—Mustapha Al Atrassi

The end of summer at the port of Melilla, a Spanish enclave in northern Morocco. Arabic music played loudly, drowning out the conversations of families in cars and vans. It was late at night in this remnant of Spain’s protectorate. About an hour earlier, the drivers were directed to form lines near the ferryboat so that Spanish customs security employees could check vehicles and identification papers. I was seventeen years old when, at this same port, I watched a dog sniff out a teenager hidden in a bag tucked under the feet of the rear seat passengers in the car parked in front of us. As my family waited to be searched, we observed the entire episode. From inside our car, we saw the frightened teenager being taken away, gasping for air and sweating heavily. We never knew what became of him or the other people in that vehicle. Every September on our way back to France, we would see young men walking back and forth on the rampart that overlooked the docks. They would get as close as possible to vehicles waiting to board the ferry in hopes of catching a ride. The vigilant agents of the Guardia Civil relentlessly chased the migrant hopefuls away. On one particular trip, I saw a young man try to board our ship by climbing up an anchor rope. Alerted by the cheering of travelers, agents ran to the ferry and attempted to shake the man off his precarious perch on the rope. The crowd grew anxious when he seemed likely to fall to the ground. Moroccan strangers were imploring God’s help. Some women covered their eyes, anticipating a tragic end. A few passengers were screaming. Two couples, however, who happened to be taking an evening walk took in the scene with seeming amusement, probably because they were accustomed to witnessing such events. The man was finally captured upon reaching the deck and then escorted into the rear of the patrol van and driven away in the night. This was one of several encounters I had with this type of chase on both sides of the Strait of Gibraltar.

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Medium 9780874216349

A Life Engaged: A Critical Introduction Michael Austin

Michael Austin Utah State University Press ePub

Paradox is life. It’s the same thing as balance. You can’t have one without the other . . . Tell me what you fear most and then we can talk about what we desire most. Then this “third thing,” which in this case is conversation or understanding, becomes the creative expression of an idea.

—Terry Tempest Williams to Derrick Jensen (p. 44)

Critics describe Terry Tempest Williams as a paradox. In the introduction to a recent book of essays devoted to her work, Katherine R. Chandler and Melissa Goldthwaite note that “tensions and oppositions abound in her work . . . As critics, we have set our sights on ferreting out how those contradictions contribute to a coherent vision.”1 This is a daunting task: Williams is a feminist, a Mormon, a scientist, an environmentalist, an activist, and a writer of great beauty and passion. In the final interview for this volume, I asked Williams specifically about some of these contradictions. “There are so many Terry Tempest Williamses,” I queried, “the writer, the activist, the naturalist, the wife, the speaker, the educator—how does writing integrate with other facets of your life?” Her response was as simple as it was sublime: “I only know one me. I don’t know those other people that you’re talking about. It’s one life and it’s a life engaged” (p. 180).

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[THE AMERICAN ACADEMY SERIES]

Charles S. Peirce Indiana University Press PDF

12

W R I T I N G S OF C H A R L E S S. P E I R C E , 1867-1871

On an Improvement in Boole's Calculus

of Logic

P 30: Presented 12 March 1867

The principal use of Boole's Calculus of Logic lies in its application to problems concerning probability. It consists, essentially, in a system of signs to denote the logical relations of classes. The data of any problem may be expressed by means of these signs, if the letters of the alphabet are allowed to stand for the classes themselves. From such expressions, by means of certain rules for transformation, expressions can be obtained for the classes (of events or things) whose frequency is sought in terms of those whose frequency is known.

Lastly, if certain relations are known between the logical relations and arithmetical operations, these expressions for events can be converted into expressions for their probability.

It is proposed, first, to exhibit Boole's system in a modified form, and second, to examine the difference between this form and that given by Boole himself.

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18. An Outline Classification of the Sciences

Edited by the Peirce Edition Project Indiana University Press ePub

 

MS 478. [Found in CP 1.180–202, this text is the first section of “A Syllabus of Certain Topics of Logic,” a large document composed mostly in October 1903 to supplement the Lowell Lectures. The original syllabus contains six sections, of which four are printed here (selections 18–21). Omitted are “Nomenclature and Divisions of Dyadic Relations” (MS 539; CP 3.571–608) and “Existential Graphs: The Conventions” (MS 508; CP 4.394–417). The first two sections and part of the sixth were printed for the audience by the Lowell Institute (Boston: Alfred Mudge & Son, 1903); the selection below is found there pp. 5–9.] This first part of the “Syllabus” is literally, as proclaimed in its title, an outline. In its summary form, it provides an easy guide to Peirce’s mature classification of the sciences, with the normative sciences—esthetics, ethics, and logic—constituting the central branch of philosophy. Peirce defines logic as “the science of the general laws of signs,” and divides it, as he had in his first 1903 Lowell Lecture (previous selection) into three departments: speculative grammar, critic, and methodeutic. Peirce’s subsequent development of semiotics will be built on this classification.

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