How Fast Can A Coleman Crawdad Boat Go

# 45 Understanding the Lord of the Rings

Understanding The Lord of the Rings - The Best of Tolkien Criticism
edited by A. Rose Zimbardo and Neil D. Isaacs
# Publisher: Houghton Mifflin (May 24, 2004)
# Hardcover: 304 pages
# ISBN-10: 061842251X
# ISBN-13: 978-0618422517

be a valuable indication of the increasingly precious Claudio Testi, we take opportunity to publish some information about this collection of essays as well as some comments by Cla (which of course thank you for your permission).

The book, as the subtitle, is an anthology of some of the basic texts of criticism of Tolkien and the Lord of the Rings in particular. 'Nuff said and this is an index:

• CS Lewis, "The dethronement of power" (1955) - "the friend of JRRT affects all (or almost) the essential themes of the work, in particular: a) 'extreme realism b) the false idea that there
  good and evil are clearly distinct (eg Boromir), but as it is true that the well does not change with fear
  c) the fact that at the level of "structure" there is
  ALL TdM in war, in contrast to the daring of 2 small
  Hobbit in Mordor. Lewis also wonders why it is necessary to invent a
  fantastic way to talk about the real answers, because the way
  real heroes of myth and fact, despite the familiarity of things hidden;
• Edmund Fuller, "The Lord of the hobbits "(1961);
• WH Auden," The Quest Hero "(1961) - 'article about the hero's quest," in which "the author reveals how a fantasy world in some way corresponds to an objectification the inner world '
• Patricia Meyers Sparks, "Power and Meaning in the LOTR" (1959) - "shows how JRRT longer pay the Lewis and Williams, as his hero (ie Frodo) fights and loses, while the other triumph;
• Rose A. Zimbardo, "Moral Vision in the LOTR" (1968);
• Marion Zimmer Bradley-, "Men, Halflings and worship heroes" (1963) - 'Article
  crucial for what concerns the theme of love in the LOTR' ;
• RJ Reilly, "Tolkien and fairy stories" (1963) - the relationship between Tolkien and Coleridge;
• JS Ryan, "Folktale, Fairy Tale, and creation of story" (1977) - "interesting article that shows how much the LOTR is influenced by the rate of JRRT
  on Beowulf, and Coleridge ';
• Verlyn Flieger , "Frodo and Aragorn: The Concept of Hero" (1977) - "focuses on
  differences and relations between two types of hero (Epic /" normal ") embodied by
  Aragorn and Frodo;
• Paul Kocher, "Middle-Earth, an imaginary word?" - "Very interesting
  chapter excerpt from Master of Middle Earth volume ", forthcoming in Italy;
• Patrick Grant, "Tolkien: Archetype and world" (1963) - "reading the work of Jungian JRRT '
Lionel
• Basney, "Myth, History and time in the Lord of the Rings" (1977) - read the LOTR '2-structures, myth (static) and history (dynamic);
• Jane Chance , "LOTR: Tolkien's epic" - "understood extracted from Tolkien's art '
• Tom Shippey ," Another Road to ME: Jackson's movie Trilogy "-" essay by Shippey especially for the volume. "

For those interested in the book, I highly recommend taking a look here .

Outside Security Lighting Wiring Diagram

Groundhog Day - help us to decide


Given the great success of the initiative of the New Year Bolger, the family returned to you on these new channels with an existential question. Please help us consolidate the Customs before the Customs defeat you.

February 2 - Cui prodest?
For the date in question, the Bolger will celebrate the day of
marmot, further institutionalizing another traditional festival
Bolger.
The question that arises is the following:

What is Groundhog Day?

	A typical traditional festival Lombard, whose purpose is to remember the days when the Celts, to defend the envy Varangians, the Byzantines and the Sunnis, they built the city of Milan well protected by defensive walls on which they built the ring of 90/91, the serviceable devoted themselves, not just the weather made it possible again. So to celebrate the resumption of work, you free a groundhog on the ring, and the chase was done by Ben Hur (purposely kept alive under vacuum) on board of a Roman chariot: if Ben Hur took the marmot, the kitchen and gave fed to the poorest, but if the woodchuck could escape, then run away even Ben Hur, and everyone started chasing him, especially PumaGiaguaro, said "the cute". Ben Hur did not like this game a lot. Not even the groundhog. All the others were strangely excited. Especially the Sunnis.
	These festive traditional North-American, observed for the first time in Punxsutawney, Pennsylvania, February 2, 1887. It has its origins as a pagan festival in Northern Europe and the British Isles, or as a "cross-quarter day" exactly halfway between winter solstice and spring equinox. During this day, there will be a refuge for a woodchuck, if this show and can not see its shadow because the weather is cloudy, winter will end soon, but if it sees its shadow because it's a beautiful day, be afraid and will return to race in its burrow, and winter will continue for another six weeks. The tradition is also associated with the festival of light and Candlemas Christian. If you vote this version, you're not Bolger.
	little / Sometimes.
	An ethno-cultural festival, also called "Spacehog Day". As well documented, with a marmot astronaut helmet (worn for protective purposes) was used to make pancakes for the whole family Bolger. At a time when the cracks were blown up, a gesture required according to tradition, two things could happen: the cracks could end up on the visor of the marmot, which was clear indication of a dark time, you do not even see a crack in the palm of your nose, and therefore equally clear prediction of the approaching winter escape, or the cracks could end up on the back of the marmot, which splashed into the air dall'ustione fourth degree, wearing this cute cape fluttering crepe, cooked hair and burnt flesh, giving rise to ' adorable image of a marmot Bolger astronaut who flies with the superman cape, hence the name "Spacehog day." In both cases, eventually took the cracks and was served in pastry. Otherwise the first two, instead taking the groundhog and it was running along the ring [...] The oldest prints that illustrate this practice goes back to 1913 when the famous pastry Bolger, managed by the family, began to use Marmot to make crepes for sale to the public. Some time later, the cake was invented that supplanted the market for crepes in Milan, but in the meantime had spread to France, where he lost the use of marmot. In the current revival, the Bolger tend to gather on that day by dressing according to the protagonists of historical events, according to traditional customs such as the marmot, astronaut, superman, or cracks, to dance the giocajouer.
	puss away Rain rain, / I do not wet the ground.
	Bolger is a celebration of tradition, during the Bolger as Grandpa tells Bolgerini when the people of Bolger had to cross the Po Valley, a place full of inaccessible swamps, fog, and cows, and marmots were scarce so much, to the point, indicating a lucky person, not saying "born with the shirt "but" born with the groundhog. " So Bolger prayed in search of a claim, in this wilderness where you could only eat rice seasoned with grit, until the Lord sent them from heaven Marmot: Marmot rained every day, from 12 to 20 ( the first was from 6 to 14, but Bolger is not never woke up so early, so that everything was filled with stacked marmots, and was not a pretty sight, so that the timetable was moved forward 6 hours), except Sundays meeting the family, the day he ate roasted chestnuts, or roasted and eaten hot marmots, later replaced by chestnut due to an insurgency vegan.
	A place where the stone age has given way to that of iron, because of the more obvious comfort in that the latter can obviously offer.
	A meeting of family members characterized by transhumance, who invited himself to the house of another (innocent people who did not know and that Bolger had not done anything wrong to anyone) to make casino and annoying as usual, hence the saying "transhumance as a marmot, but said in an unusually and inexplicably pejorative sense. In the same circumstance, when you are angry with someone that day, he is told, "but it 'to try to bypass the groundhog." Usually, the landlord is saying it.

go to the results

Survey by Quibble

glad I take this opportunity to remind the results of the survey on Bolger Year to date: the

• ethno-cultural festival leads with 36% of votes
• 's Day Tradition Bolger follows with 21% and five votes of posting
• a third place tie is a normal family gathering and a place where the stone age has given way to that iron, with 15% of the votes
• chases in the backline typical traditional festival in Milan, with 12% and only a vote of posting.

I remind you that there is time to vote until 2012.

Exercise Cavity Filled

Michele Mari, "Verderame"


The cover of "Verderame" (Einaudi 2007) is an old picture of Karel Thole - an old cover of Urania (I say this for the fans of Michael Mari (*))
" Verderame "is a short novel pseudoautobiografico. It takes place in the country house of the grandparents of Michael Mari (Mari pseudo Michele, the better), must be transformed to the narrative by the author and his love for a certain kind of amazing. It takes place in 1969, since then, both the protagonist, Michelin, which the author, Michele Mari, 13 years old.
least one other story by Michele Mari takes place in the same space, "Eurydice had a dog"; But the grandparents' house has a completely different aspect, in that story, they are different narrative needs. The grandparents' house is located at birth ("Verderame"), or to Scalna (in "Eurydice"). Both names, as I understand it, do not exist in Varese, and are almost anagrams of each other.
[I do not think this style will hold dry / easy for all post-AG]

I'm not doing the fleas to the data contained in the autobiographical novel, the fact is that the transformation of the facts through a conscious use of the imagination ( literary, visionary, children) is one of the central points of " Verderame, as well as a leitmotif of the work of Mari.

The story told in " Verderame " is in fact the survey research of the past thirteen Michele Felice, 60 year old farmer, handyman's grandparents' house, semi-literate and lonely, who is losing his memory.
The Felice, a perfect example of Betis benevolent with its "monstrous" (it's a big man with an ugly scar and a large birthmark on his face, and with impunity handling poisonous and beautiful crystals of verdigris for the screws), provides clues Michelino product that already works to help him find the things in his memory fade away (vanish or turn into fantastic belief, bordering on dementia).
In a sense, "Verderame " is a thriller, as noted by Stefano Giovanardi (I think) on the Republic a week ago.
The progressive revelation of Felix are true to the fantasy of sorcery Michelino, already madly in love with the worlds of Stevenson, Melville, Hoffmann, Poe. And also the source of these revelations - the "monster" Happy - and the language with which they are told - a Lombard dialect rural, narrow but understandable - to give those secrets unveiled a further aura of myth.

Michelin is also the narrator of " Verderame," but it often emerges as the voice adult who remembers and recounts the events, namely the pseudo Michele Mari. In one of these points the true storyteller speaks of " my stubbornness to stay young and never grow up, I want it now let alone at age thirteen and a half ... "
It is in this dual identity and the latent patologicità the cornerstone upon which to be set " Verderame "but the two doubles that are perceived in the narrative voice is not the 13 year old and the pseudo Michelino Michele Mari adult, but the child-adult and imaginative dreamer and his alter ego which he developed with rational logic and concreteness his investigation by looking to discern what is real and what is fantastic in the words of Felix.

This duality between imagination and reality recurs in other works of Mari: it is found in several types of "All the iron Eiffel Tower", starting with the main character, Walter Benjamin, is the source of conflict in adolescent Giacomo Leopardi " I came full of anxiety to gaze " - that leads to a conflict " monstrous and fantastic disease, lycanthropy, is embodied, that duality in the characters of Captain Torquemada, immobilized by gangrene, and Second, I mention, cruelly and stupidly materialistic, and even in " Swallows on wire " another pseudo Michele Mari narrator has two faces, one of which is marked by a morbid, pathological jealousy and visionary. In
" Verderame " the explicit double figures are more of one: the same Felice itself at the same time the farmer and the concrete and pragmatic "madman" who has built a world populated by terrifying entity (the Great Rabbit, the voices of the French buried in the garden, the "snails French "than those sent to spy Felix, chthonic presences in the basement). For Felix, also, there are people who have a double who is dormant and buried one of those people is the grandfather of Michelin, which has twice replaced the "grandfather of the first" for years, but also el Michelin confesses Felix has a double "dead" that could at one time or another take over and replace the Michelino who is a friend of Felix.

This topos of Doppelgänger (in respect of which lacks Michelino not remember the movie "Invasion of the Body Snatchers ") is accompanied, in the books of Mari, than the disease: Felice has a degenerative mental illness, as was said, even the characters from other works of Mari that I have cited all of the diseases, real or fantastic. And in "Eurydice had a dog," the story unfolds on the change marked by illness and hospitalization of Flora: Michele, both linked to its neighbor and his dog Taboo, you decide never to visit her in hospital, almost afraid to see broken the spell which saw in rural and Flora in her home country, until Flora died and Taboo there is no news: and the guilt of the protagonist is a boulder.

Returning to " Verderame and reflect, in common with other works of Mari, it should be noted that the 13 year old Michelino is the only character, including those fought in the duality between reality and imagination, living in perfect balance in the two records, without disease, without conflict. Recalling (Goya) that " the sleep of reason produces monsters " for the boy avid reader of novels, those monsters are very beautiful and seductive, as if for him could tip the aphorism: the monsters are the reason to dream.
Maybe it is in this sense that the pseudo Michele Mari wants to remain a child.

last record for anagrams: in addition to (l) Nasca / Scalna, in " Verderame " there is a passage where the narrator thinks of the mother of Felice ("the man of verdigris ) completely erased from the memories of his son: "... verdigris, sea green, real mother, real shit ... . If there are others, of anagrams, I have not found.

(Ah, I liked the book very much.)

(*) See "The covers of Urania," in "You, bloody children"

Synyster Gates Hair How

Gaddis, "Agape Agape" The ruler of Jevons

That : the sense of individual work of art in mass-market culture

reread my review of a few years ago (the book's posthumous William Gaddis, "Agape , agape " , still not translated into Italian) I realize that as yet contains stimulating ideas (the book, not transposed). It seems to me that even the words of Gaddis foreshadow the use of the web for literature and art still not met. I realize finally that he completely forgot what I had thought when I wrote the rece valid, that therefore propose again here.

Overtime, the last text of William Gaddis out a few years after the death of (Occurred at the end of 1998), by its express will.
is a monologue of about 90 pages in which a terminally ill writer of pulmonary emphysema (as Gaddis) tries to summarize and put together a text that has worked for decades, a text that was to be a history of mechanical player piano in the U.S. as an emblem the massification of artistic creation and destruction.

The plant and autobiographical self is all too evident from the start: Gaddis really picked up on that material for at least 40 years, an enormous amount of material to work that he decided to turn into a short novel, " Agape, agape ", indeed. In this choice
- As well as building self - is contained in part the meaning of the text and the thesis that supports: the renunciation of writing a text for life exemplifies the fact succumb single artist amassed in front of the technological society, and yet this waiver is not a defeat, as is clear from the last pages of text.

The protagonist of " Agape, agape " complaint then the killing of the artist as a result of technology, standardization of taste, of democracy: a thesis undoubtedly elitist and reactionary, and certainly not new (Eliot, Pound, Jünger , Zumthor move on ropes like, to say the first that come to mente):
" ...because that's what it's about, that's what my work is about, the collapse of everything, of meaning, of language, of values, of art, disorder and dislocation wherever you look..."
E ancora: "...where individual is lost, the unique is lost, where authenticity is lost not just authenticity but the whole concept of authenticity, that love for the beautiful creation before it's created that that, (...) That natural merging of created life in this creation in love that transcends it, a celebration of the love that created it they called agape , that love feast in the early church, yes .

The apocalyptic-elitist argument that art can only meet the standardized ' entertainment and technology has allowed this (Gaddis cites several authors, even when Flaubert says, "The only dream of democracy is to raise the proletariat to the level of stupidity of the bourgeoisie ") is radical and new, in fact - much less acceptable.

But the meaning of the text of Gaddis, IMHO, is not that.

His quote Tolstoy ( The Kreutzer Sonata ), Melville (Moby Dick ), Bernhard ( The unsuccessful , real inspiring model of Agape, agape, so that Gaddis writes in his notes that it seems that Bernhard had stolen his ideas even before he had), du Maurier (Trilby ), Huizinga, Freud etc. no need to argue that thesis, but to show the similarities between different minds in different times and brotherhood ( · ga'pe , in the context) between these individuals that the result is still possible of artistic creation - and the engine can still result, even today, of artistic creation.

"... they'd say I'm afraid of the death of the elite Because It Means the death of me of course I can not really blame Them, I've been wrong about everything in my life it's all Been fraud and fiction, let everybody down except my daughters ... "
Gaddis speaks of himself, really. And the game in the final pages of the narrative self vanishes and is the author speaking directly to the reader, no longer play or irony (perhaps this, too, came the need to impose some years of waiting, after his death, Before publishing the text).

Some verses of Michelangelo I (present in all the works of Gaddis) this explicit autobiographical reference: " O God, O God, O God / Who hath taken away from myself upon me would be more at / O more than I could, what can I do? O God, O God .. . The writer
old and sick, before the drafting of a work that has to give up writing, tip attention to that "himself he could do more," the possibilities of an artist as a young man frustrated by the mass-market technology. Frustrated why? Maybe for having sought the consent and immortality in an age where this is impossible without self-denial, of course ("What immortality if today there is a new generation every 4 days? ," says Gaddis) . The defeat

individual (the losing party or the writer Friedrich of "Trilby " Svengali, but also Gaddis writes that " My first book has become my enemy ") is therefore the result of too much ambition and self-centered especially misguided: not the mass-market can benefit from the work created by "himself that he can do more", but the author and, above all other men with a feeling akin to his. In this sense the work of art without compromise still makes sense. A thesis
elitist to the end, no doubt, but that takes credibility as a 'confession' individual (for more on his deathbed).
addition to this, we must not forget to say " Agape, agape " is a beautiful book.