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Medium 9780253010575

2 He Butchered His Wife Because of Witchcraft and Adultery: Crime Tabloids, Moral Panic, and the Remaking of the Moroccan Cop

Jonathan Smolin Indiana University Press ePub

Crime Tabloids, Moral Panic, and the Remaking of the Moroccan Cop

In September 1993, only months after the Tabit Affair, people walking down the city boulevards discovered a jarring new form of media awaiting them at the newsstands. Sitting next to the daily press and weekly magazines, which had returned to their stoic reporting style soon after Tabit’s trial, were large color tabloids spread out on the sidewalks boasting covers with grisly crime-scene photographs and shocking bold headlines. The words “He Butchered His Wife Because of Witchcraft and Adultery,” for example, were placed below a horrific color image of the female victim’s bloodied and mutilated face. “He Stabbed His Friend to Death for Three Cents” appeared above a large color photograph of the killer pointing a knife toward a man, demonstrating for the police—and public—exactly how he committed the murder. The bold headline “Murder, American Style” introduced a large color image of the victim, a middle-aged man on his back after rigor mortis set in. “The Police Put Their Hands on Wide Prostitution Network” was printed next to a photograph of seven seemingly respectable women, all in traditional Moroccan clothes, under arrest. Never before had the Moroccan public seen real-world daily violence and moral degradation spread out on the cover of a newspaper, let alone with such dramatic color photographs and bold sensational headlines. For decades, crime was a topic hidden from the public eye. Now, all of a sudden, it was splashed on the front pages of these tabloids for anyone walking by the newsstands to see.

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Medium 9780253012814

IV “A Richly Laden Festal Board”

Larry Lockridge Indiana University Press ePub

Elsie Lockridge wept privately with her son the morning of September 13, 1933, when he left for France, but she held in her tears at the train station, where she, Ross Senior, Larry Wylie, and a few others gathered for the send-off. Vernice Baker was not excused from her normal Wednesday hours at the IU bookstore. She heard the Monon pull into the station at 11:05, and accidentally shortchanged a customer one dollar at 11:15 when it pulled out. Lillian Lockridge was working normal hours in her new position as a parole officer for the Indiana Woman’s Prison in Indianapolis—her own leap into the “tributaries” of life’s purposeful great river—and would weep when, returning home on the weekend, she missed Ross’s usual trail of hurriedly discarded clothes on the second floor.

“Woefully dejected” until he reached the transfer at Greencastle, her messy younger brother began to key himself for the great year abroad. On his own for the first time, he was eager to find in reality the culture and adventure he’d experienced through books and cinema.

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Medium 9780253012463

5 “The Worst of Music”: Listening and Narrative in Night and Day and “The String Quartet”

Adriana L. Varga Indiana University Press ePub

Vanessa Manhire

VIRGINIA WOOLFS ACKNOWLEDGED INTEREST IN INTERDISciplinary approaches to literature, her love of music, and her assumed position as “common listener” rather than musical expert offer fruitful angles into her early fiction: her groundbreaking reworking of narrative conventions depends heavily upon her explorations of the ways in which music works, especially for its listeners.1 Woolf engages directly and critically with the social and literary norms of late nineteenth-century society, placing explicit emphasis on musical scenes as subject matter from which to build this critique, and using music to problematize the relationship between the external world and the world of the mind. This essay discusses Woolf’s treatment of music in her second novel, Night and Day (1919), and the short story “The String Quartet” (1921), focusing on scenes of musical performance as well as Woolf’s questioning of music’s representational capacities. Stylistically, these texts are polar opposites: one heavy, conventional, and Victorian, the other light, experimental, and modernist. Yet in very different ways they both explore music as a potential model for the representation of interiority. Following Pater’s idea of music as embodying the perfect relationship between form and content, Woolf draws on music as a vehicle for the exploration of language. Woolf’s development of stream-of-consciousness narrative techniques, I suggest, owes much to her thinking about the effects of listening to music, a shared social experience but one that simultaneously allows for the individual movement of the imagination.

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Medium 9780253008053

8. The Hasidic Spark and the Holocaust

Steven T Katz Indiana University Press ePub


ELIE WIESEL HAS identified himself with hasidic Judaism: “When asked about my Jewish affiliation, I define myself as a Hasid. Hasid I was, Hasid I remain…. Hasidism brings me back to the world of my childhood. In that time the Jewish heart was not broken. Its song was raised and raised me as a rampart against the melancholy and the anguish that, in exile, seeks to hold it back, if not to put it in chains. What would I be without it?”1 The particular form of Hasidism? As a youth Wiesel frequented many rebbes,2 “ready to catch fire wherever the spark may be found.”3 Although especially devoted to the Viznitzer rebbe, he considered himself a disciple of Menahem Mendl of Kotsk.4 In the end, the form of Wiesel's Hasidism was his own. Deeply knowledgeable of the sources, drawing from the classical texts of Hasidism and his own memories, infusing all with literary imagination, he created his own universe of hasidic life and thought. I will remain within his unique parameters in my attempt to understand the connection between his Hasidism and his response to the Holocaust.

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Medium 9780874216349

Testimony, Refuge, and the Sense of Place: A Conversation with Terry Tempest Williams David Thomas Sumner, Weber Studies, 1999/2003

Michael Austin Utah State University Press ePub

Terry Tempest Williams is a “placed” person. A fifth-generation Utahn, she weaves the history, people, landscape, plants, and animals, of Utah and the West into her work—work for which she has received national attention.

Having grown up in Utah, Williams has had a lifetime interest in the natural world that surrounds her. This is apparent in her education and work. She holds a B.A. in English and an M.A. in environmental education from the University of Utah and has worked as a teacher at Navajo Reservation in Montezuma Creek, Utah, and as naturalist in residence at the Utah Museum of Natural History. She has also served as the Shirley Sutton Thomas Visiting Professor of English at her alma mater.

Williams has authored a long list of books as varied as the Mormon tea, Rabbit brush, and sage of the Colorado Plateau; yet, like these plants, her books all spring from the same arid western soil. Her books include Pieces of White Shell: A Journey to Navajo Land; Coyote’s Canyon; Refuge: An Unnatural History of Family and Place; An Unspoken Hunger: Stories from the Field; Testimony: Writers in Defense of the Wilderness (edited with Stephen Trimble); Leap; and Red.

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Medium 9780253211903

12. The Categories Defended (Lecture III)

Peirce Edition Project Indiana University Press ePub


MS 308. [Published in CP 5.66–81, 88–92 (in part) and in HL 167–88. This is the third Harvard lecture, delivered on 9 April 1903.] In this lecture Peirce goes into more detail concerning the nature of his categories and uses them to distinguish three kinds of signs: icons, indices, and symbols. He analyzes in particular one type of symbol, the proposition, which always refers to its object in two ways: indexically, by means of its subject, and iconically, by means of its predicate. Peirce defends his categories against the view he attributes to A. B. Kempe that Thirdness is not required to express the relations of mathematics, and he argues for the independence of Firstness, Secondness, and Thirdness.

Ladies and Gentlemen:

Category the First is the Idea of that which is such as it is regardless of anything else. That is to say, it is a Quality of Feeling.

Category the Second is the Idea of that which is such as it is as being Second to some First, regardless of anything else and in particular regardless of any law, although it may conform to a law. That is to say, it is Reaction as an element of the Phenomenon.

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Medium 9780253016300

2 Forced Confessions: Subject Position, Framing, and the “Art” of Spiegelman’s Maus

Emily Miller Budick Indiana University Press ePub

Subject Position, Framing, and the “Art” of Spiegelman’s Maus

IN CYNTHIA OZICKS The Shawl (1990) subject position is framed in two different ways. While there may be individuals who are wholly disinclined to listen to the story of the Holocaust for whatever reasons, there are also individuals like Dr. Tree, who actively invite listening to victims’ stories. Against such individuals (like us readers, perhaps) the story levels the implicit accusation that to some degree an overly avid interest in the camps, especially in the humiliations and violations suffered there, can well verge on voyeurism. Like everything else that concerns human beings, Holocaust interest is galvanized by psychological forces: wishes, fantasies, terrors, and the like. This is not to say that the investment in keeping alive the knowledge of past events, or even in commemorating victims of violence and cruelty, is not also ethically grounded. Nonetheless, by forcing readers to interrogate their own subjectivities when their hear or read stories like Rosa’s, the novella suggests that in order to be good listeners and good historians we might need to separate out our own needs in relation to the events of the past from the responsibility we have to hear other people’s stories of pain and to keep alive the histories of catastrophic events.

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Medium 9780253021274

5 Occupations and Food

Vladimir Nalivkin Indiana University Press ePub

ISLAM RECOGNIZES staying at home and working hard as the best deeds for a woman. A pious, hardworking Sart man is called sufi (pure, godly), and a housewifely woman is mastura (homebody),1 but very few young women can qualify for this description.2 Having observed men and women for several years, we have come to the conclusion that there is a huge difference between them when they are the same age. A woman up to twenty-five or thirty years of age usually has little interest in housework or any other labor. If she is not forced to work by poverty or a husband’s pressure, she would not lift her finger and would run around visiting others, strumming a dutor [two-stringed lute], pounding a tambourine, and gossiping; the most she can do is sew a new dress for herself. The man is the other way round; before thirty to thirty-five, he is extremely hardworking, serious, and ambitious. In many families, he takes on the heaviest load in agriculture, crafts, and trade starting at age ten or twelve, while the majority of girls who are soon to be brides can do almost nothing. However, when they become mature, the roles of an average man and woman change. He often becomes deficient in energy and sedentary, even lazy; she, on the contrary, does not lose her energy and ambition until a very advanced age and, with very rare exceptions, becomes very energetic, good at homemaking, and hardworking. We see old gray-haired women who spend the whole day on their feet, never stop working, baking bread or sewing or weaving or preparing food, moki dek yurubti, running back and forth like a weaver’s shuttle.

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Medium 9780253211903

32. Excerpts from Letters to Lady Welby (1906–08)

Peirce Edition Project Indiana University Press ePub


L 463 and Welby Collection, York University. [The first excerpt comes from L 463:98–102, a letter-draft composed in the early spring of 1906; it was published in Semiotics and Significs, pp. 196–97. The second comes from a letter dated 23 December 1908, also published in Semiotics and Significs, pp. 80–85. The third comes from L 463:132–46, a letter-draft begun a few days before Christmas 1908; published in CP 8.342–76.] Peirce’s letters to Lady Welby are among the richest records of the evolution of his semiotic thought. In the first excerpt, we learn that there are two semiotic objects and three interpretants, and we meet with the striking idea of the commens, that fused mind of utterer and interpreter without which there can be no communication. We also learn that the dynamic object, the object of experience, though not in the sign, is not outside the mind. In the 1908 segments, Peirce delivers his famous “sop to Cerberus”—his insertion of the phrase “upon a person” in his definition of “Sign”—and builds the case for his ten trichotomies. In the final postscript he diagrams a ten-fold classification of signs based on the modalities of Idea, Occurrence, and Habit.

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Medium 9780253372086

51. Embroidered Thessaly

Charles S. Peirce Indiana University Press PDF


Embroidered Thessaly

[Found among the papers of an attorney recently deceased]

1892 and c. 1897

Houghton Library

The writer was yesterday called into his lumber-room to pronounce upon the disposition to be made of a roll of two loom-fabrics his rummaging young people had found there. The first to be displayed was a queer tapestry, on which was embroidered in worsteds in bold, rough style, with long stitches, a view of the three mountains Pelion, Ossa, and Olympus, as they appear from the town of Trichala, with the plain of Thessaly between, and figures in the foreground, dancing. The writer blushed as he looked at it; for it brought to his remembrance how there was in the early sixties a precious young fool upon whom a rather extraordinary sort of glamour had been cast, and how it was that young fool’s skin in which the world today recognized a man of method and prudence; and the man himself was persuaded that valuable reputation appertained to him by good right. But the sight of the embroidery aforesaid almost made him doubt his own genuine identity.

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Medium 9780253010575

5 The Moroccan Serial Killer and CSI: Casablanca

Jonathan Smolin Indiana University Press ePub

Between the mid-1990s and the mid-2000s, fictional narratives of the police spread through Moroccan society. They first appeared in the form of a novel, The Blind Whale, and then moved to the country’s first independent newspaper, Moroccan Events, which appropriated the novel’s narrative strategies to invent true-crime reporting in the press. This new form of cultural production not only bolstered the newspaper’s circulation but also disseminated a groundbreaking depiction of the police through the law-bound detective who represented a complete break from the Years of Lead. The main innovation of Moroccan True Crime, however, was the fusion of fact and fiction in presenting the public with a new image of the real-world police in a highly credible nonstate media source. This new format gave the real-world police an image that corresponded to the state’s aspirations for a new era characterized by democratic principles, the rule of law, civil liberties, and human rights, encouraging the public to resituate their relationship with state authority.

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Medium 9780253020444

3 Notes from the Imagination: Reading Romance Writing: Where in Catherine Roach and Catherine LaRoche, in Feisty Dialogue, Comment upon LaRoche’s Fiction

Catherine M. Roach Indiana University Press ePub

Wherein Catherine Roach and Catherine LaRoche,
in Feisty Dialogue, Comment upon LaRoche’s Fiction

As Monty Python says, “And now for something completely different.” In this chapter, I eschew the theoretical. In its place, a confession: While I truly believe in the value of bringing fan and scholarly communities together, a big part of why I’m doing this work is because it’s a whole bucket of fun. And I want you, gentle reader, to have fun along with me. Without drowning you in jargon and theory, I want to engage you in performative ethnography and in debates about that omnipresent romance narrative directing us to hot and steamy love. Accordingly, there’s a deliberately goofy aspect to what I’m up to, an academic-lite approach that involves poking fun at myself, at certain conventions of sober analysis, and at insider/outsider boundaries that can make conversation—serious conversation—difficult across the divide between academics and the general public.

So here’s the setup. We’re in Starbucks at the Ferg, which is the University of Alabama’s student services building more formally known as the Ferguson Center. A recent survey of the undergraduates has revealed that a stunning 45 percent of them had not read a book cover to cover in the past year. The Creative Campus initiative responded with a controversial campaign entitled “Seducing the Reader,” featuring giant posters hanging around campus emblazoned with taglines such as “Are You a Book Virgin?” and “Lose Your Innocence between the Covers This Term!” In a further dodgy effort at engaging students in the lost art of book reading—and in an ill-conceived attempt at copy-cat programming spurred by the success of Fifty Shades—Creative Campus has invited Catherine LaRoche to give a reading from her recently released Victorian romance e-book Master of Love. Catherine LaRoche is a member of Romance Writers of America; she has a two-book publication contract with the Simon and Schuster e-book imprint Pocket Star. In an initiative by the College of Arts and Sciences designed to highlight faculty publications, the dean’s office has displayed cover art of all the faculty members’ books in buildings around campus. Outside the office door of Catherine Roach, professor in the university’s interdisciplinary program of New College, hangs a beautifully framed giant blow-up of LaRoche’s cover for Master of Love.

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Medium 9780253211903

10. The Maxim of Pragmatism (Lecture I)

Peirce Edition Project Indiana University Press ePub


MS 301. [Published in CP 5.14–40 and in HL 104–21. This lecture, delivered on 26 March 1903, was left untitled.] This is the first in a series of seven lectures, delivered at Harvard from March through May, 1903, in which Peirce sought to build a case for pragmatism by examining its pros and cons. He also wanted to distinguish his pragmatism from other, more popular, versions. These are the lectures that William James characterized as “flashes of brilliant light relieved against Cimmerian darkness!” In Lecture I, Peirce considers the utility of the pragmatic maxim and claims that its usefulness does not constitute a proof of its truth — it must pass “through the fire of drastic analysis.Peirce outlines the steps he will take to support his version of pragmatism. He rejects his earlier appeal to facts of psychology and points out that if pragmatism teaches that what we think is to be understood in terms of what we are prepared to do, then the doctrine of how we ought to think (logic) must be a branch of the doctrine of what we deliberately choose to do (ethics). But what we choose to do depends on what we are prepared to admire, which brings us to esthetics. An examination of pragmatism, therefore, involves all three of the normative sciences: logic, ethics, and esthetics. But first we must consider phenomenology, the science that deals with phenomena objectively and isolates the universal categories that pervade all our experience.

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Medium 9780253006257

15 - Toward the Theoretical Practice of Conceptual Liberation: Using an Africana Studies Approach to Reading African American Literary Texts

Lovalerie King Indiana University Press ePub


Africana Studies is an academic extension of what Cedric Robinson has called “The Black Radical Tradition.” This tradition is notable for emerging out of a pre-existing constellation of African intellectual work, shaped by millennia of subsequent migration, adaptation, and improvisation. Through the central acts of translation and recovery,1 Africana Studies seeks to theorize out of long-view genealogies of African intellectual work. This process has been captured with striking impact by the writer and translator Ayi Kwei Armah, both in his fictional texts Two Thousand Seasons (1972), KMT: In the House of Life (2002), Osiris Rising (1995), and in his memoir/historiography The Eloquence of the Scribes (2006). Armah and other key theoreticians have set themselves the task of intentionally linking that series of migrations, adaptations, and improvisations from the origins of humanity to the present, integrating wave after wave of challenges and solutions to the problems of African human existence as a series of interlinked episodes, of which the period of enslavement and colonialism is a very recent and very temporary set of moments.

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Medium 9781607321798

3. Poetic Tenacity: A Diachronic Study of Kennings in Mayan Languages

Kerry M. Hull University Press of Colorado ePub


A Diachronic Study of Kennings in Mayan Languages


The poetic and literary aspects of Maya hieroglyphic texts are just beginning to come into focus. In this chapter I trace the diachronic use of one of the most elegant poetic forms among the Maya: the diphrastic kenning—the pairing of two distinct elements to produce a metaphorical, more abstract third concept. I investigate the use and meanings of fourteen specific kennings/pairings found in Maya hieroglyphic writing that have attested counterparts in Colonial period documents or modern Mayan languages. This comparative analysis sheds light on both Maya conceptual patterning based on selectively paired lexical items and the interpretation of such kennings over time. I also argue that diphrastic kennings, firmly entrenched in the parallelistic structuring, allow us to definitively posit the presence of a poetic tradition at least as far back as the Early Classic period that has continued unabated to modern times.

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