The purpose of the article is to identify the influence on Ayn Rand's work of Friedrich Nietzsche in Silver Age Russia. The analysis focuses on Rand's novels We the Living, The Fountainhead, Atlas Shrugged, and some of her nonfiction philosophical essays. Thus Spake Zarathustra: A Book for All and None is the work by Nietzsche that is central to the analysis.

: In the poetry of Daud Kamal, water figures as an image of mercy, as in the Quran, and as a mirror that reflects divine hidden presence. The rock pool evokes the memory of Gandhara and other foundational civilizations born in love and creative ferment. Conversely, the images of drought, heat, and dust symbolize a parched spiritual order. The river, a recurring archetypal image in Kamal’s poetry, represents the fluid self that is subsumed into collective identity to become a poetic (...) distillate of history. Key words: Daud Kamal, water imagery, drought imagery, Pakistani poetry in English, Gandhara civilization, Islamic poetry. Resumen: En la poesía de Daud Kamal, el agua figura como una imagen de misericordia, como en el Corán, y como un espejo que refleja la presencia divina oculta. El estanque evoca la memoria de Gandhara y otras civilizaciones fundamentales nacidas en el amor y el fermento creativo. Por el contrario, las imágenes de sequía, calor y polvo simbolizan un orden espiritual reseco. El río, una imagen arquetípica recurrente en la poesía de Kamal, representa el yo fluido que se subsume en la identidad colectiva para convertirse en un destilado poético de la historia. Palabras clave: Daud Kamal, imágenes de agua, imágenes de sequía, poesía paquistaní en inglés, civilización de Gandhara, poesía islámica. (shrink)

This mixed method study (Explanatory Design - the Participant Selection Model) investigated the use of joint drawing (the Family Squiggle) as a family climate assessment tool for hearing families who have a deaf / hard of hearing (D/HH) child. The goal was to evaluate the possibilities of applying a quantitative approach to characterize the pictorial phenomena produced by hearing families who have a D/HH child, and then apply qualitative research approaches to better understand the meaning of these phenomena. Twenty-eight hearing (...) families (parents and child) whose child was diagnosed as D/HH and used hearing devices (hearing aids, implant) were recruited along with 16 families with a hearing child of a similar age enrolled in a mainstream school. The sessions involved a joint drawing followed by a family interview. In the quantitative stage, pictorial phenomena for which there was a significant association between the phenomena and the group of families were defined. These were: (1) The number of dominant images, (2) Images occupying less than a quarter of the page. (3) Images with accentuated outlines. (4) Moderate colorfulness with four to five colors in each drawing. (5) Minimal representation of the face. (6) Concrete rather than creative titles. (7) Muting of conflictual themes. (8) Images reminiscent of hearing devices (hearing aids, implant). In the qualitative phase, interviews were conducted with the hearing families with a D/HH child to better understand the meaning of these pictorial phenomena. The findings suggest that each of these phenomena represent the preoccupation of the family with deafness / being hard of hearing, capture a certain aspect of family dynamics, and together provide a broader and deeper picture of the family climate and the interactions between the child's family and hearing. This assessment tool may thus be utilized when verbal tools cannot be easily applied. (shrink)

Religious symbols are often treated as mysterious, and even magical, links between the visible and the invisible worlds. They also lie in the nature of Christianity: they are present in its languag...

This article examines the new type of hero created by Ayn Rand and finds its roots in Chernyshevsky's “new human.” Rand's characters share such features as extremism, asceticism, escapism, and the desire to transform the world. Moreover, Rand's heroes exhibit the self-building and “wholeness” traits of the “superhuman” as found in myths and in Renaissance and Masonic ideas.

The aim of this article is to explore how a sense of place informs the autobiographical in the work of Bernard Kangro. In order to establish a wider context for the relationship between the writer in exile, writing, and a sense of place there is a reference to the work and literary views of the German-speaking Jewish poet Paul Celan. The common basis for the comparison of the work of the two writers is their exile status, but they also share (...) an understanding of the interrelationship between language and reality, a distinctive relationship with places and a sense of place as well as religiousness in their work. The current article focuses on the depiction of places and a sense of place, and its associations with exile as a state of mind that heightens the sensitivity to the real places experienced in the past as well as the imaginary places experienced in the present. In the description of places and a sense of place the autobiographical element occurs on two levels. Firstly, an autobiographical reading is made possible by the proper names in the text that signify real geographical places, which allow for a positivist interpretation with regard to the author’s biography. Secondly, the autobiographical may be revealed through certain figures in Kangro’s work, which are repeated from work to work but whose meaning might be diametrically opposite. Such recurrent figures are, for example, those of the island, the sea, the land, the tree, fog, snow, the wind, the bog, the sky, and the star. The present article addresses the figure of the island and the shifting scale of meanings it creates in Kangro’s work. An approach to the autobiographical via textual tropes is based on Paul de Man’s consideration of autobiography, who was against defining autobiography as a genre or a mode but viewed it instead as “a figure of reading or of understanding that can occur in all texts”. In Kangro’s texts three kinds of islands are found: islands identified by their proper names, such as Ivösjö and Patmos, and islands having fictitious proper names, such as Midday Island, the Island of Dreams, the Island of Freedom, the Island of Miracles or the Island of Winds, and islands without name. The textual analysis of Kangro’s poems, poem cycles, the drama The Sunken Island (Merre vajunud saar) and the novels The Tree on the Island Still Stands (Puu saarel on alles) and Six Days (Kuus päeva) written in exile shows that these islands and the “I” of these texts form a kind of imaginary whole: the former exist in the textual space only through an “I” who goes into exile, is in exile or returns from exile, whereas the existence of this “I” depends on the possibility of the existence of the islands. On the basis of the analysis of the above-mentioned texts we can conclude that the symbol and the allegory are not opposites in Kangro’s texts. Several poems, for example “On the Midday Island” (“Keskpäevasaarel”), “Oh, Patmos!” (“Oo, Patmos!”), “Evil Visions” (“Kurinägemused”), a longer poem “Kihvakaania”, and the essay “At the Black Mnemosyne’s” (“Musta Mnemosyne juures”) can be read as allegories where the island is part of the allegorical image. The island figure also allows for yet another conclusion. The description of the relationship between the “I” and place in Kangro’s work seems to illustrate de Man’s analysis of Coleridge’s concept of the literary symbol, according to which cognition and the symbolic imagination are continuous, interrelated processes. In Kangro’s work the imagining, dreaming or remembering “I” often turns into a perceiving “I” who moves from reality into meta-reality. This “I” is an exile, similar to the subject position described by Paul Celan in his acceptance speech for Georg Büchner prize published as “Der Meridian” – a tireless traveller, who does not travel in reality but in the infiniteness of his imaginary worlds in order to create a reality necessary for survival and creative work. (shrink)