Samuel Beckett Samuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour. Beckett is widely regarded as among the most influential writers of the 20th century.[2] He is considered one of the last modernists. Beckett was awarded the 1969 Nobel Prize in Literature "for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation".[3] He was elected Saoi of Aosdána in 1984. Life and career[edit] Early life and education[edit] The Becketts were members of the Anglican Church of Ireland. Early writings[edit] Beckett studied French, Italian, and English at Trinity College, Dublin from 1923 to 1927 (one of his tutors was the eminent Berkeley scholar A. World War II[edit]
Untimely Meditations Cover of the first edition of Vom Nutzen und Nachtheil der Historie für das Leben (the second essay of the work), 1874. Untimely Meditations (German: Unzeitgemässe Betrachtungen), also translated as Unfashionable Observations[1] and Thoughts Out Of Season[2]) consists of four works by the philosopher Friedrich Nietzsche, started in 1873 and completed in 1876. The work comprises a collection of four (out of a projected 13) essays concerning the contemporary condition of European, especially German, culture. Publication[edit] Many different plans for the series are found in Nietzsche's notebooks, most of them showing a total of thirteen essays. Nietzsche abandoned the project after completing only four essays, seeming to lose interest after the publication of the third.[4] David Strauss: the Confessor and the Writer[edit] On the Use and Abuse of History for Life[edit] Draft for the first chapter of the second Unzeitgemässe Betrachtung Schopenhauer as Educator[edit] Notes[edit] References[edit]
100 Best Novels ULYSSES by James Joyce Written as an homage to Homer’s epic poem The Odyssey, Ulysses follows its hero, Leopold Bloom, through the streets of Dublin. Overflowing with puns, references to classical literature, and stream-of-consciousness writing, this is a complex, multilayered novel about one day in the life of an ordinary man. Initially banned in the United States but overturned by a legal challenge by Random House’s Bennett Cerf, Ulysses was called “a memorable catastrophe” (Virginia Woolf), “a book to which we are all indebted” (T. S. Click here to read more about ULYSSES THE GREAT GATSBY by F. Set in the Jazz Age, The Great Gatsby tells the story of the mysterious millionaire Jay Gatsby, his decadent parties, and his love for the alluring Daisy Buchanan. A PORTRAIT OF THE ARTIST AS A YOUNG MAN by James Joyce Published in 1916, James Joyce’s semiautobiographical tale of his alter ego, Stephen Dedalus, is a coming-of-age story like no other. LOLITA by Vladimir Nabokov U.S.A. In E.
The Wittgensteinian Sérgio Sant'Anna Roland Barthes Roland Gérard Barthes (French: [ʁɔlɑ̃ baʁt]; 12 November 1915 – 26 March[1] 1980) was a French literary theorist, philosopher, linguist, critic, and semiotician. Barthes' ideas explored a diverse range of fields and he influenced the development of schools of theory including structuralism, semiotics, social theory, anthropology and post-structuralism. Life[edit] Roland Barthes was born on 12 November 1915 in the town of Cherbourg in Normandy. He was the son of naval officer Louis Barthes, who was killed in a battle in the North Sea before his son was one year old. Barthes showed great promise as a student and spent the period from 1935 to 1939 at the Sorbonne, where he earned a license in classical letters. Barthes spent the early 1960s exploring the fields of semiology and structuralism, chairing various faculty positions around France, and continuing to produce more full-length studies. By the late 1960s, Barthes had established a reputation for himself. Writings and ideas[edit]
Why Our Universe Must Have Been Born Inside a Black Hole “Accordingly, our own Universe may be the interior of a black hole existing in another universe.” So concludes Nikodem Poplawski at Indiana University in a remarkable paper about the nature of space and the origin of time. The idea that new universes can be created inside black holes and that our own may have originated in this way has been the raw fodder of science fiction for many years. But a proper scientific derivation of the notion has never emerged. Today Poplawski provides such a derivation. Poplawski points out that the standard derivation of general relativity takes no account of the intrinsic momentum of spin half particles. This predicts that particles with half integer spin should interact, generating a tiny repulsive force called torsion. That’s interesting for a number of reasons. Astrophysicists have long known that our universe is so big that it could not have reached its current size given the rate of expansion we see now. This is a Big Bang type event.
Being and Nothingness Being and Nothingness: An Essay on Phenomenological Ontology (French: L'Être et le néant : Essai d'ontologie phénoménologique), sometimes subtitled A Phenomenological Essay on Ontology, is a 1943 book by philosopher Jean-Paul Sartre.[1] Sartre's main purpose is to assert the individual's existence as prior to the individual's essence. His overriding concern in writing the book was to demonstrate that free will exists.[2] In Sartre's much gloomier account in Being and Nothingness, man is a creature haunted by a vision of "completion", what Sartre calls the ens causa sui, literally "a being that causes itself", which many religions and philosophers identify as God. Overview[edit] In the introduction, Sartre sketches his own theory of consciousness, being, and phenomena through criticism of both earlier phenomenologists (most notably Husserl and Heidegger) as well as idealists, rationalists, and empiricists. Part 1, Chapter 1: The origin of negation[edit] Part 1, Chapter 2: Bad faith[edit]
The Great Dark Cosmic Side Coincidence [Earthlit Moon: Dorst/Druckmüller] One of the biggest mysteries — and wonders — in the known Universe flies over our heads every day. Or night, to be more precise. Alas, few human beings ever come to realize these questions even exist, much less ponder about them. Although often quoted polls suggest some people are still in the Middle Ages, most do know that planets are more or less spherical and revolve around the Sun. Now, then why does we always see the same Moon? One of the first images of the far side of the Moon, captured on 1959 The simple answer is that the Moon’s rotation period coincides with its orbital one, which in turn means that the time it takes for the Moon to turn around itself is the same as it takes for it to fly around Earth. Science does have an answer for it, and it involves the most traditional of the forces. All this heat doesn’t come from nothing, and it effectively decelerates the rotation period, exactly the one that determines the frequency of the tides. Amoon
André Malraux Early years[edit] Malraux was born in Paris in 1901, the son of Fernand-Georges Malraux and Berthe Lamy (Malraux). His parents separated in 1905 and eventually divorced. There are suggestions that Malraux's paternal grandfather committed suicide in 1909.[1] Malraux was raised by his mother, maternal aunt Marie and maternal grandmother, Adrienne Lamy-Romagna, who had a grocery store in the small town of Bondy.[1][2] His father, a stockbroker, committed suicide in 1930 after the international crash of the stock market and onset of the Great Depression.[3] From his childhood, associates noticed that André had marked nervousness and motor and vocal tics. The young Malraux left formal education early, but he followed his curiosity through the booksellers and museums in Paris, and explored its rich libraries as well. Marriage and family[edit] In 1922, Malraux married Clara Goldschmidt. Career[edit] Early years[edit] Indochina[edit] Spanish Civil War[edit] World War II[edit] After the war[edit]
Magic realism Magic realism or magical realism is a genre where magic elements are a natural part in an otherwise mundane, realistic environment.[1] Although it is most commonly used as a literary genre, magic realism also applies to film and the visual arts. One example of magic realism occurs when a character in the story continues to be alive beyond the normal length of life and this is subtly depicted by the character being present throughout many generations. On the surface the story has no clear magical attributes and everything is conveyed in a real setting, but such a character breaks the rules of our real world. The author may give precise details of the real world such as the date of birth of a reference character and the army recruitment age, but such facts help to define an age for the fantastic character of the story that would turn out to be an abnormal occurrence like someone living for two hundred years. Etymology[edit] Literature[edit] Characteristics[edit] Fantastical elements[edit]