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This paper refers to a series of articles presenting three British authors who created their major works in war times or in between-two-wars times. T.S. Eliot, H.G. Wells, and C.S. Lewis. T.S. Eliot considered in such periods we are Hollow men full of straw and when we see the bullies that are being elected or appointed in some countries, like Trump in the USA, we are well obliged to think and admit he was right. H.G. Wells was for total white eugenics and he did not see it brought up the first world war - partly - and the second world war - entirely. C.S. Lewis tried to look at the fate (or is it a curse?) of humanity from a Christian point of view a world where war would have been eliminated. His vision was optimistic and yet speking to the children that are in every single one of us. Just follow teh links and get where those papers are, just for you of course.
2013
T.S. Eliot will be considered in his play “Murder in the Cathedral” and how in the second half of the 30s he represented a religious or more generally spiritual approach of what was happening in Europe at the time: fascism and nazism, communism and western cowardice (the famous “hollow men”). This play is centered on four temptations that I will study in detail in order to show how the situation Thomas Becket is in can only lead to martyrdom but the vanity of looking for that martyrdom has to be avoided. How can it be avoided and why? Can this martyrdom save the day? H.G. Wells in the second half of the 30s with a film like “Things To Come” defends his well asserted idea that the association of Darwinism and Marxism leads humanity to a total catastrophe as depicted in “The Time Machine” with a longer vision of geological or cosmic time leading to a complete rebooting and reformatting of the universe, and the earth. This vision led him to defending a total eugenic policy to save humanity from this doom. At the end of his life, shortly after WW2, he expressed full discontent and fear that his prediction was unavoidable or inescapable. Between these two extreme apocalyptic visions, martyrdom to bring the future out and eugenics to prevent the future from being born C.S. Lewis defended a Catholic approach of life. I will study the seven novels of “The Chronicles of Narnia” to find out how C.S. Lewis captured and expressed this dilemma and what vision of the future he had and how he thought that future could come. This approach will be limited to “Narnia” in order to remain within the particular period of the end of the 1940s and the beginning of the 1950s, in fact after the beginning of the Cold War and before the death of Stalin, and what’s more in his literature targeting young people, a literature which generally brings more spirituality and naivety. Even if we should read Narnia three times in a life time. The conclusion will be more a question than a real final opinion. How can we transfer this approach from that context to our context? Has science fiction changed its meaning because of the different world we are living in today, sixty years after the writing of “Narnia” and seventy years after the writing of “Murder in the Cathedral” and the shooting of “Things To Come”?
Two authors so different and yet so close because they had the same backdrop on the stage of their lives, the backdrop of totalitarian regimes, of genocide, mass killing, and war; the backdrop of the desire never to see it again. And yet both will not be the prophets they might have wanted to be. H.G. Wells engulfed his work in eugenics and social Darwinism. C.S. Lewis invented a fantasy world for children. Both have become crucial to our modern consciousness, all the more now some western leaders openly speak of war as if it were necessary. It sure reveals their weakness in front of teh challenges of a globalilzed world.
Benjamin Beil, Gundolf S. Freyermuth, Hanns Christian Schmidt (Eds.): Playing Utopia: Futures in Digital Games (pp. 9–66). Bielefeld: transcript Verlag, 2019
A Brief History of The Conception and Representation of Futures in Modern Media—From Literature to Digital Games
Love as a feeling of total gift of yourself to the other and of the other to yourself, with the tremendous responsibility that goes along with it. And death then becomes an unacceptable step away from this reality. Death comes and love will never go away and will turn into suffering, longing, wanting, needing and never getting the satisfaction you could ever wish to get. Love is for life I was going to say, oh yes, love is for life and even beyond life, for death if it comes and when it comes. Love never turns into ashes and never goes back to dirt because it is not dirt, it is the soul of the heart and the mind of life. And that’s what C.S. Lewis actually discovers late in his life and never forgot after that. He finally learned how to be a fully blooming man, but it hurts so much when you learn love from within the death of your beloved. I must say the slow rhythm of the film, the very intimate scenes, the delicacy of the language and the acting, and the art of Anthony Hopkins serve that theme so well, so beautifully. It seems to be able to last for ever and ever, and yet the young son, now step-son, is there to remind you the show of life goes on for ever and ever on the stage of the strutting human beings we are.
C.S. Lewis is remembered as a beloved novelist and Christian apologist, but during the Second World War, he was recognized as a public intellectual. Using lectures, radio programs, articles, and monographs—both fiction and non-fiction—Lewis disseminated his thoughts to a wide readership. This paper explores Lewis’s wartime speeches and writings to reveal his views on the relationship between the British state and civil society. He continuously used Nazi Germany to exemplify how a weakening of civil society vis-à-vis a strong state could threaten the human rights of individual citizens. Lewis was concerned that the philosophical trend toward ethical subjectivism would lead Britain to follow Germany’s lead. He believed that a universal moral standard was necessary for society to distinguish between right and wrong and thus be able to protect the rights and freedoms of its members. In addition to touching on socio-political issues which concerned Britons in the early-twentieth century, this paper pays particular attention to Lewis’s opinions on such matters and how he expressed these views to the public. By examining Lewis’s definition of morality, his fear of the application of subjectivism in the use of science, and his argument for the importance of democracy as European states were capitulating to fascism, this paper will show not only that Lewis was more than a writer of children’s literature, it will also illuminate how moralists contributed to the socio-political discourse in 1930s and 1940s Britain.
This paper is an interpretive history and analysis of why the idea of the first Superman was popular in the United States in the first few decades of the turn of the twentieth century. It was well known at the time the idea of Superman came from the German Philosopher Fredrick Nietzsche. The central question to be addressed is why the first Superman flourished and was a success. There is very little contemporary historiography on this topic. However, a large body of primary sources exist. There is also a large body of secondary sources that were close to the period. By examination of these sources, the first Superman can be explained within its historical context: Modernity, popular culture, and the eugenic movement. These three factors help explain why the first Superman flourished in America – and why the idea could not have succeeded at any other period in United States history.
The world is shaped by the thoughts and intentions of the people in it. In “Tenor Of The Times: Reflections Upon The People & Ideas Influencing The World In Which We Live”, social theorist and theologian Frederick Meekins examines the impact of some of the people and movements that he considers to be the most influential.
Alteritas: EFL-U Journal of Literary Inquiry, 2019
The paper argues that the media narratives of the transgender often end up mainstreaming them, by constructing their transgender identity along the familiar lines of patriarchy and heteronormativity. Despite their best intentions to help the transgenders emerge from the margins of the society, the essay claims, media representations of the community end up representing them as yet another, if somewhat intriguing, version of the same.
What I call ‘archaeological racism’ is the misuse of archaeology for socially and politically motivated ends. At its core is Diffusionism, the belief that a blond-haired, blue-eyed dynastic race migrated around the world in the prehistoric past to civilize the dark skinned peoples. It held that indigenous peoples invented nothing before the coming of the ‘Great White Race’. Diffusionism disenfranchizes indigenous peoples from their past. When a people have no history, they have no past. When they have no past they have no claims to their land, nor the prehistoric remains upon that land.
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