The past year has seen a flood of articles commemorating the end of the Cold War, and the fact that "peace" seems to be breaking out in many regions of the world. Most of these analyses lack any larger conceptual framework for distinguishing between what is essential and what is contingent or accidental in world history, and are predictably superficial.
Literature and Terrorism In an age of terror, how does literature help us transcend our reality, lend perspective to our confusion by pulling us into the past and other cultures, and give expression to our anguish and fear through catharsis? They survived it; so can we.
In this course we will define terrorism the way the Arabs define it, as any organized violence, by an individual, group or state, legitimate or illegitimate, against a civilian population, either intentional or unintentional. Black Water is both a personal and stylistic meditation on terror as well as an indirect indictment of the terror a powerful political leader has over an innocent civilian.
Sometimes real life provides so much terror that the reader hides in literature for escape, seeking fantasy, happy endings, funny, harmless stories that eschew the turmoil of an unlivable situation. No one can take too much of one thing.
When New Yorkers were coughing from the smoke and toxins downtown, they did not go to the movies to see sci fi representations of Manhattan blowing up. But literature is different from film because we can choose when and how often to put the book down.
Instead of watching a naturalistic representation, we recreate the story in our minds to excite, soothe or incite us. Many of the writers we will study had personal experience of a world war, the holocaust, the Israeli checkpoints, prison for their writings or gender brutality such as clitorectomies.
Some could not write for years afterwards; others wrote on toilet paper in prison. It is significant that terrorism demands a certain amount of intelligence in order to achieve its devastating effect.
I also believe that it is stultifying to repress critical reflection on difference to be politically correct. Not only does it make us oblivious to the richness of difference, but we also lose our sense of humor. One of the most influential persons of the twentieth century was Albert Einstein, not only for his theories on relativity, but because he revolutionized the way humans perceive time and space in all domains from art and literature to atomic warfare.
No Exit is a good way to explore basic dramaturgy: In terms of content, it deals with the German occupation of France during world war II, and the Empire drawing room satirizes the stultifying life of the French bourgeoisie in contrast to the new Marxism Sartre probably misunderstood.
It is the most accessible introduction to the philosophy of existentialism, existence precedes essence, in contrast to the Cartesian saying, "I think, therefore I am.
He popularized existentialism with sayings such as "I am therefore I think," "Man is nothing more than the sum of his actions," and "Hell is other people.
During the anthrax scare in the Fall ofstudents identified with the characters and situations in Camus' The Plague. Both works are essential to an understanding of their times, and yet they transcend their times so that they speak to us now in the darkest moments of our war on terror.
The Plague introduces us to the formal elements that make a good novel, the third person narrative that clinically but compassionately describes the struggles of Dr.
Rieux to help Oran survive the plague. Unlike drama, description and narration assume paramount importance as the world transforms from before plague, to plague, to post-plague.
This is also as wonderful study in character transformation as each person's true character is revealed when he is confronted with the existential dilemma of possible or imminent death.
While No Exit is a battle of individuals, The Plague charts the growth, collapse and renewal of a community through a skillful, meticulous attention to description and narration, the chief elements of novel writing.
Each culture has different expectations regarding characters, plausibility, and levels of introspection, censorship, conformity to cultural values, as well as the kinesthetic thrust of the drama.
Western dramatic structure is more linear, moving to that one big climax, while Arabic literature is recursive, with many climaxes. American literature often wants "three-dimensional" characterization and transformation while Arabic literature can sometimes go for good versus evil.Islam, Muslims and Islamic civilization are under siege in America.
Subsequent to the tragic incidents of September 11, Afghanistan and Iraq wars, ISIS’s barbarism and Paris shooting, Islam both as religion and community has witnessed some of the worst attacks upon its heritage and legacy unprecedented in the previous history.
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Literature and Terrorism In an age of terror, how does literature help us transcend our reality, lend perspective to our confusion by pulling us into the past and other cultures, and give expression to our anguish and fear through catharsis?
Warning: file_get_contents(): php_network_getaddresses: getaddrinfo failed: Name or service not known in /home/vertigo/webapps/new_catherine/wp-includes/class-error. The Berlin Wall—symbol of a divided city within a divided nation within a divided continent—was grounded in decades-old historical divisions at the end of World War II.