Apt Pupil Research Articles

SEARCH FOR THE LINGUOCULTUROLOGICAL PRINCIPLE OF TRANSLATING METAPHORS IN STEPHEN KING’S SMALL WORKS (BASED ON STORIES “THE APT PUPIL” AND “RAINY SEASON”)

This article analyzes the creative heritage of the American writer Stephen King who has become famous for his works in the genres of horror literature and dark fantasy. In the course of the study, the authors study semantic, functional, structural metaphors, their stylistic and linguocultural features using the example of Stephen King’s stories “The Apt Pupil” and “Rainy Season”. The research methodology is based on a comparative analysis of the original works and translations by Russian linguists S.E. Task, M.V. Opaleva, V.V. Antonov, I.G. Pochitalin, B.G. Lyubartsev, V.A. Weber. The chronological framework of the study covers the period of the conceptualization of Stephen King’s work (translations by S.E. Task and I.G. Pochitalin) from 1991 to the latest experiments in the linguocultural rethinking of the comparative method (translation by V.V. Antonov) in 2012-2013. The main course of the study directed at analyzing the characteristic features of original metaphors and their translation forms, which lose and gain unique cultural features in comparison with the context in English. This approach clearly demonstrates not only the diversity of the author’s idiostyle, which touches on both the mystical-religious and personal feelings of the modern man, but also the acute social problems of modern society. It allows us to trace the emergence of new meanings in translated forms of metaphors. The results of the study show that quite often translators of Stephen King, trying to adapt the text, lose flexibility.

From Lanzmann’s Circle of Flames to Bodies in Pain: Anglo-American Holocaust Fiction and Representations of the Gas Chamber

This article discusses the apparent desire in Anglo-American Holocaust fiction to form a deeper connection to the horror of the Holocaust by recreating scenes of suffering in the gas chamber. Using Elaine Scarry’s The Body in Pain, Alison Landsberg’s theory of ‘prosthetic memory’ and the concept of ‘feeling-with’ as outlined by Sonia Kruks, it discusses the motives underlying these representations and what an audience stands to learn from these bodily encounters with the Holocaust past. The article begins by discussing texts that explore the notions of temporal and emotional distance and the unreachability of the Holocaust dead, while also reflecting the corresponding impulse to reconnect with the murdered by physicalising them as bodies in pain. It then moves on to works that aim to make the experience of death in the gas chamber literally inhabitable for present-day nonwitnesses. In pursuing this argument, the article focuses on six representative texts: Steven Spielberg’s Schindler’s List (1993), Bryan Singer’s Apt Pupil (1998), Tim Blake Nelson’s The Grey Zone (2001), The Boy in the Striped Pyjamas (2006 and 2008, for the book and film respectively), In Paradise (2014) by Peter Matthiessen and Mick Jackson’s Denial (2016).

A New Heart: Jacques-Bénigne Bossuet on Conversion

O mon Dieu ... creez en moi un coeur nouveau. LOUISE DE LA VALLIERE (1) TOWARD THE END OF HIS LIFE, Richard Rorty summarized aspiration of his philosophical project with this statement: We hope to do to Nature, Reason and Truth what eighteenth century did to God. We think, he further explained, anything you can do with notions like 'Nature,' 'Reason' and 'Truth' you can do better, with such notions as 'the most useful description for our purposes' and 'the attainment of free consensus about what to believe and to desire.' (2) Both seventeenth-century sermon that is here translated and life of woman whose conversion it reflects upon stand as challenges to Rorty's conviction. (3) They testify that human soul, its inner and most intimate recesses, craves much more than effective therapy or comfort of being outward peace with its neighbors. For human heart belongs to a creature that yearns for nothing less than union with its Creator. There is more than a little irony Rorty's self-description as a philosopher. Denying, as he does, significance of truth and notion that intellect is perfected by knowing, he hardly fulfills any literal interpretation of name. Nor would he be uncomplicated exemplar of a more restricted understanding of craft, for he was as likely to trade story-telling as argument, and if argument, then argument about stories we tell. Darwin's suggestion of the possibility that we may be clever animals trying to reshape environment to our needs, rather than intellects attempting to grasp intrinsic structure of reality served as his first principle. (4) But as a principle, this appeal functioned less as a premise than as a mise-en-scene, a stand-in for upon a time. Darwin, he recounted, made it harder to be a Kantian than it had previously been, and once his apt pupil, Nietzsche had added another chapter to Darwinian story, people--note insouciant generality of sentence's subject--found it very hard to think of themselves as having a transcendental or a noumenal side. What happened next? hundred-odd years spent absorbing and improving on Darwin's empirical story have, I suspect and hope, unfitted us for listening to transcendental stories. And so, in course of those years we have gradually substituted making of a better future for ourselves ... for attempt to see ourselves from outside of time and history. The story's moral, then, is that philosophy is not at all a path toward self-knowledge and truth, but instead an aid to creating ourselves. (5) As a story-teller, Rorty was both captivating and astute. In tale that he would have us tell about the emancipation of thought from obsolete doctrines, he pointed to importance of Montaigne, suggesting that but for overwhelming influence of Cartestianism, it could well have been Montaigne to have set modern philosophy on its path toward a secular world-view. (6) Surely this supposition is reasonable, for spite of Montaigne's famed complexity, it is undeniable that one strand of his influence lay precisely that direction. To libertins of France's Grand Siecle, Montaigne represented very spirit of self-creation that Rorty would later laud; as one commentator put it, Montaigne was to libertins the symbol of a kind of writing about me. (7) Write about themselves they certainly did: My hand is so generous and so free-spirited (libertine) that it will follow only whim of my fantasy, and this with such independence and unrestrained freedom that it glories having no other end view than simple search for truths or what accords with nature, nor any object more important than what pleases me. (8) The reference to nature this passage by Francois de La Mothe Le Vayer was a pointed one, meant to exclude appeal to grace; he had earlier announced that he would philosophize in puris naturibus, and later followed Montaigne's example by praising Julian Apostate, among other pagans, his treatise on LaVertue des Payens [1641]. …

A patient's diary: episode 14 — Dr Teacher's dream

> Evening surgery is over. In his consulting room, Dr Teacher relaxes for a few minutes with a favourite Jane Austen novel. But his eyelids are heavy. He sleeps. He dreams … Sally Greengage, good-looking, clever and ambitious, with a comfortable flat in a fashionable part of town and a happy disposition seemed to unite some of the best blessings of existence; and had lived nearly 28 years in the world with very little to distress or vex her. Wishing to qualify herself in the medical profession, she had recently engaged herself as apprentice to Mr Gerald Teacher, a reputable local apothecary. She soon proved herself an apt pupil, rapidly acquiring a skillful consultation manner and a good knowledge of medicinal herbs; much admired and respected by her many grateful patients, she seemed to have a brilliant professional future ahead of her. If she had any fault at all it was perhaps the power of having rather too much her own way and a disposition to think too well of herself. She would sometimes alight on an interesting diagnosis without sufficient resort to the evidence base, or indeed the counsel of her master. She would also delight in giving injudicious advice to the apothecary's female servants concerning their personal lives and matrimonial aspirations. However, these disadvantages of her character, if they can be so described, were at present unperceived by Sally and so did not by any means rank as misfortunes with her. Now there lived in the pleasant little village of Glanders Magna in the County of Surry, a very civil and respectable gentleman of middle years called Norman Gland. He and his wife, Hilda, had a very pleasant house enclosed before and …

Frames of evil: the Holocaust as horror in American film

American filmmakers appropriate the look of horror in Holocaust films and often use Nazis and Holocaust imagery to explain evil in the world, say authors Caroline J. S. Picart and David A. Frank. In Frames of Evil: Holocaust as Horror in American Film, Picart and Frank challenge this classic horror frame - the narrative and visual borders used to demarcate monsters and the monstrous. After examining the way in which directors and producers of the most influential American Holocaust movies default to this Gothic frame, they propose that multiple frames are needed to account for evil and genocide. Using Schindler's List, The Silence of the Lambs, and Apt Pupil as case studies, the authors provide substantive and critical analyses of these films that transcend the classic horror interpretation. For example, Schindler's List, say Picart and Frank, has the appearance of a historical docudrama but actually employs the visual rhetoric and narrative devices of the Hollywood horror film. authors argue that evil has a face: Nazism, which is configured as quintessentially innate and supernaturally crafty. Frames of Evil, which is augmented by thirty-six film and publicity stills, also explores the commercial exploitation of suffering in film and offers constructive ways of critically evaluating this exploitation. authors suggest that audiences will recognize their participation in much larger narrative formulas that place a premium on monstrosity and elide the role of modernity in depriving millions of their lives and dignity, often framing the suffering of others in a manner that allows for merely documentary enjoyment.

Apt Pupil: Dwight Eisenhower and the 1930 Industrial Mobilization Plan

This article takes the view that Dwight D. Eisenhower's work as a staff officer in the War Department in the early 1930s was significant not only for his own career, but also for the United States. In these years, Eisenhower wrote the first detailed industrial mobilization plan, the blueprint the nation would follow if it entered a major war. Though not formally implemented in 1941, much of Eisenhower's plan provided the basis for a more efficient transition to war production than had occurred during World War I. Moreover, his work enhanced his reputation in the Army.

Perilous Memories: The Asia-Pacific War(s) (review)

Reviewed by: Perilous Memories: The Asia-Pacific War(s) Yuehtsen J. Chung Perilous Memories: The Asia-Pacific War(s). By Fujitani, White, and Yoneyama (eds.). Durham: Duke University Press, 2001. In their efforts to reclaim marginalized subjects’ right to history, the authors of this conference volume bring together multiple, contradictory, unsettled and unsettling memories of the world war and challenge the dominant form of history writing on perpetrators, heroes, political leaders, military planners or policymakers. As decolonization during the postwar era has been supplanted by recolonization, the liberation forces have turned into another regime of domination in most parts of Asia and the Pacific. Likewise, the authors argue that the centrality and marginality of the selected memories are basically a binary pair and any lopsided emphasis of each would give rise to a cycle of repression and suppression. Conceiving memory as the process of past events acquiring truthfulness and power by virtue of being represented, shared, debated, suppressed and negotiated, the authors remind us of the current danger of various forces at work: 1) transnational capitalism which promotes plural representation with a single teleology of victory of capitalism in order to accommodate the interest of tourism and globalization; 2) conservative politicians who preserve nationalistic nostalgia and frequently deny the occurrence of war atrocity so as to sway popular support in the name of defending patriotism; 3) funding agencies which preclude critical projects as such to engage the debates between the dominating and the marginalized history writings and preempt possible opportunities of dialogue and reconciliation. Compared to two recent excellent monographs on war memory, Lisa Yoneyama’s Hiroshima Traces: Time, Space, and the Dialectics of Memory (UC, 1999) and Yoshikuni Igarashi’s Bodies of Memory: Narratives of War in Postwar Japanese Culture, 1945–1970 (Princeton, 2000), this collection demonstrates the strength of comparativism and broadens our perspective of heterogeneous forms of remembering and representation, which is a befitting mode in which to recast the heterogeneity of the Asia-Pacific War. The first set of five articles focuses on memory fragments absent and present in the cultural production of war images, an approach similar to the one found in Igarashi’s aforementioned work. Marita Sturken’s piece on Rea Tajiri’s recreation of her family’s memories of mainland Japanese Americans in the internment camps during the war presents the part left out not only by the Tajiri family but also in American national memory. Daqing Yang’s discussion of the contested memory of the Nanjing Massacre within the national framework finds the topic not only the focus of textbook dispute but also a target for the rightists to gain political ascendancy by criticizing their opponents “anti-Japanese” and “masochistic” in Japanese domestic politics. Meanwhile in China, Chinese assertive efforts to refresh the memory of Japanese aggression stems from a fear of the revival of Japanese militarism in the teeth of growing economic power. Ishihara Masaie’s “Memories of War and Okinawa” complicates the issues of war responsibility and the complicity of the Okinawans, who had been discriminated against by the Imperial Army and forced to participate in the war while witnessing Japanese troops killing their own countrymen in the Battle of Okinawa. Lamont Lindstrom analyzes conflicting images of the Pacific islanders from war photography, ranging from exotic and primitive jungle dwellers, servant, victims and apt pupil to the loyal allies and fellow human beings. Lindstrom’s reflection points out that the “justification of the war to ourselves and to others eroded the boundary between civilized self and native other” (109). Morio Watanabe enframes various incidents of 1995, the Hanshin earthquake, the Sarin event and the gang rape of an Okinawa girl by U.S. Marine soldiers, to capture the images of war memory concealed in the sites of popular cultural production such as simulation war series and the obsession with cuteness. The second set of six articles reveals, in a straightforward and powerful biographic manner, the true color of “liberation.” As an American Pacific Islander, Vicente M. Diaz’s recurrent nightmare of his struggle for survival in the wars in the Philippines and Guam even before he was born tells us that his body has been afflicted by his parents’ traumatic...

Entertaining History: (Un)heroic Identifications, Apt Pupils, and an Ethical Imagination

Pupil 1998 saw the release of director Bryan Singer's Apt Pupil. Based on a Stephen King novella, the film devolves upon all-American 16-yearold Todd Bowen's inquiry into the character of evil. Following a brief school lesson on the Holocaust that raises more questions than it answers, since the history teacher predominantly avoids details of the crimes committed and devastation inflicted, Todd commits himself to pursuing outside-of-class research. Part of his motivation comes from an attempt to understand what is behind the fascist symbols and Germanic slogans he sees spray-painted onto school walls. However, by unique

Sentimental Education: Randall Jarrell Among the Women

Randall Jarrell (1914-65), American poet, critic, and teacher, was a refractory heir of high modernism. His genealogy is clearly traceable to T. S. Eliot via John Crowe Ransom and Allen Tate, but if he was an apt pupil he was also a wayward disciple, both in his criticism and in his poetry. Though his reviews of fellow poets inspired fear and respect--so fierce and devastating were his witty dismissals, so incisive his praise--his poetry has often been dismissed as sentimental. Bristling with ambition and competitiveness, he nonetheless preferred to more prestigious appointments his position at a small southern woman's college. He suffered fools badly and impatiently but was legendary for his kindness as a teacher of the unsophisticated. His longtime colleague Peter Taylor described his irrepressible laughter as cruel and/or gleeful, a combination that typified his personality and was sometimes bewildering to his intimates.

The Marquess of Tweeddale, P.Z.S.

IT is with extreme regret that we have to chronicle the death, after a three days' attack of bronchitis, on the morning of December 29, of Arthur Hay, ninth Marquess of Tweeddale, F.R.S., and President of the Zoological Society of London. Born in 1824, the second son of Field-Marshal the late Lord Tweeddale, K.T., a veteran of the Peninsula and other campaigns of “the Great War,” Lord Arthur Hay at an early age entered the army, as befitted the godchild of the grand English captain, and obtained a commission in the Grenadier Guards. But the ordinary guardsman's life in times oi peace was inadequate to his aspirations, and reaching the rank of captain, he was soon after appointed aide-de-camp to Sir Henry (afterwards Lord) Hardinge, then Governor-General of India, and in that capacity accompanied his chief through the ever-memorable campaign of the Sutlej. After the English arms had triumphed in the conquest of the Punjab, Lord Arthur was attached to a mission, the details of which, we believe, have never been made public, to some of the tribes bordering upon our northern frontier, and in discharge of that duty reached places unvisited by any European traveller since the days of Moorcroft. Lord Arthur's services in India and the adjacent countries lasted over several years, in the course of which time his attention was attracted by their rich and little-known fauna, and he not only formed the acquaintance, but assiduously cultivated the friendship of two of the greatest Indian zoologists of the time—Jerdon and Blyth—of whom he became an apt pupil, fishes and birds being particularly the objects of his pursuit. Returning home at length he resumed his regimental duties, and on the outbreak of the Russian war, in 1854, he accompanied the expeditionary force first to Turkey and thence to the Crimea, taking part in the operations which ended in the fall of Sebastopol. Soon after the conclusion of peace he left the army, and his old zoological tastes, which had been growing slack, returned to him more strongly than ever. On the death of his eldest brother, Lord Gifford, he became heir to his father's honours and estates, and assumed the courtesy title of Lord Walden, by which, perhaps, he will be most generally recognised, for under that designation he published the greater part of his contributions to zoology, and under it he succeeded the late Sir George Clerk as President of the Zoological Society, performing the duties of that office with a singular amount of dignity and urbanity. For several years he continued to live in a cottage he had built for himself at Chislehurst, and there he began to form an ornithological library and collection on a scale almost unattempted hitherto in this country, though the collection was supposed to be limited to Indian, or at least Asiatic, specimens. On the death of his father, at a very advanced age, in 1876, Lord Walden inherited the Scottish peerage and estates, and thenceforth his home was mainly the old ancestral seat of Yester, near Haddington, where he entered, with the energy natural to his character, upon the life of an agriculturist; in this respect following the example of his father, who had long since turned his sword into a ploughshare, and had earned the reputation of being one of the most scientific farmers in that part of North Britain, which is the headquarters of scientific farming.

Incipit primum principale a cronicula Brute

[This First Part consists in the MS. of folios Ob to 19a, and contains the history of Britain from Brute to the defeat of Harold by William the Conqueror. Ricart himself says it is “a cronicula Brute,” and he appears to have followed Geoffrey of Monmouth as far as Constantine, the successor to King Arthur. In his abridgement from this author he has made several variations, omitting certain names altogether, and altering others, as Aurylambros for Aurelins Ambrosius, Donebaude for Dunwallo Mulmutius, Corynbatrus for Gurgiunt Brabtruc, &c. Ricart often gives the number of years a king reigned where Geoffrey does not, the figures seldom agreeing even in those cases in which Geoffrey gives them. It is curious too that though Geoffrey accounts, after his fashion, for the founding of many towns in Britain, he does not once mention Bristol, although his history was dedicated to that very Robert Earl of Gloucester who played so important a part in the annals of the city. Ricart, however, was an apt pupil, and, not to suffer his famous city to be behind others in antiquity, he introduces the building of Bristol by Brynne, one of the British kings.