Happy Ending Research Articles

My Fine Fellow by Jennieke Cohen

Reviewed by: My Fine Fellow by Jennieke Cohen Alaine Martaus Cohen, Jennieke My Fine Fellow. HarperTeen, 2022 [352p] Trade ed. ISBN 9780063047532 $17.99 E-book ed. ISBN 9780063047556 $9.99 Reviewed from digital galleys R Gr. 7-12 In an alt-world 1833, seventeen-year-old Helena Higgins is poised to become London's most renowned Culinarian, crafting cutting-edge dishes for the social elite. On the brink of graduation, she's taking on an unusual final project: to turn street-food hawking Elijah Little into a famous gentleman chef. At her side, and functioning as her conscience, is best friend Penelope Pickering, who steps in to smooth the way when Helena turns out to not be the most effective teacher. Between Elijah's natural talent and their tutelage, his food soon impresses the elevated palates of British society, and suddenly Elijah's even vying for the hand of the Crown Princess. As the countdown to the final cooking competition commences, Helena [End Page 149] learns that Elijah has secrets that could ruin not just Helena's success, but Elijah's future. A triumphant mix of food, flirtation, and friendship, this My Fair Lady inspired, genre-blending treat will delight fans of historical romances, musicals, and bake-offs. Its alternative timeline, with Britain ruled by a Queen, helpfully frees the narrative from critiques of its ahistorical progressiveness, and the result is an enjoyable confection of lessons learned, wish-fulfillment, and happy endings. Bi-racial Penelope gives the novel a way to reimagine Britain's colonial reach, but it's Elijah's Jewishness that forms the core conflict. The resulting social commentary is more frothy than forceful but nonetheless draws attention to discrimination often overlooked. Ultimately sidelining Helena and allowing Penelope and Elijah to take ownership of their own reinvention, the story's more than a simple retelling; it's a refreshing remix of well-loved ingredients, sure to please. Copyright © 2021 The Board of Trustees of the University of Illinois

Honey on the Page: A Treasury of Yiddish Children's Literature ed. by Miriam Udel

Reviewed by: Honey on the Page: A Treasury of Yiddish Children's Literature ed. by Miriam Udel Veronica Schanoes (bio) Honey on the Page: A Treasury of Yiddish Children's Literature. Edited and translated by Miriam Udel, New York University Press, 2020, 323 pp. Miriam Udel's Honey on the Page is a beautiful book and of great interest to fairy-tale scholars and aficionados. While the book does not focus on [End Page 325] fairy tales specifically, there are wonder tales found throughout the volume, and they offer provocative questions to our definitions of "fairy tale" as well as insight into the world of Yiddish literature, which thrived for seventy-five years in the late nineteenth and early twentieth centuries. The book opens with a foreword by Jack Zipes, who reflects on the political and ethical themes woven throughout the various stories. This topic is taken up in Udel's own introduction to the volume (the one directed at adults), where she gives the reader a very capable and informative overview of the development of Yiddish literature for children and the cultural and ideological milieus that gave it life. It is here she writes also of her decisions regarding the structure of the volume, which is modeled, she writes, on "early Yiddish anthologies, which tended to progress from the narrowly Jewish to the broadly humanistic," in an effort to "strike a sustainable balance between expressions of particular Jewish identity and gestures toward universal human belonging" (5). The book is divided into eight sections by theme: Jewish Holidays; Jewish History and Heroes; Folktales, Fairy Tales, Wonder Tales; wise Fools; Allegories, Parables, and Fables; School Days; In Life's Classroom; and Jewish Families, Here and There. Thus the volume begins with tales of Jewish holidays. Here can be found at least three tales that I would classify as fairy tales, such as Yaakov Fichmann's "A Sabbath in the Forest," which tells of a tailor who never fails to keep Shabbas, lost in the woods as the sun sets on a Friday night, before whom a magical palace, warm and full of food and wise fellowship, appears, so that he might observe the Sabbath properly. It is followed by Yankev Pat's "The Magic Lion," in which a rabbi, abandoned by his caravan while crossing a desert because he insisted on stopping to observe Shabbas, is sent a magic lion who helps him reach his destination. This section also contains Levin Kipnis's "Children of the Field," a retelling of "a legend very briefly related in the Talmud" having to do with Exodus (40). It might be argued that these stories concern divine miracles and so are not true fairy tales, but I would point to the often quite Christian literary tales of the late nineteenth century in response, such as those of Oscar wilde. A wonder tale can also be found in Part II on "Jewish History and Heroes," in which Rokhl Shabad's "Gur Aryeh" tells a tale of Rabbi Judah Loew of Prague, in which the rabbi throws a miraculous feast for the king and becomes his most trusted advisor. The volume continues with Part III, "Folktales, Fairy Tales, wonder Tales," in which Solomon Bastomski's "The King and the Rabbi" presents us with another wonder-working rabbi, this time one who saves the Jews of the king's realm from a wicked advisor. This trope, of the rabbi who advises a king, speaks to one of the realities that separate a Yiddish wonder tale concerning royalty from a gentile one: if the protagonist is Jewish, his reward cannot be [End Page 326] marriage into the royal family and incorporation into the larger community. That "reward" would mean the abandonment of Judaism, and of course such an ending would be no happy ending at all, at least from a Jewish point of view. Being trusted as an advisor, then, is the highest material reward possible. Two other tales in this section, Judah Steinberg's "Roses and Emeralds" and David Ignatov's "The Red Giant" recall to me the tales of Hans Christian Andersen and Oscar wilde in their lyricism, but with gentler moralizing. Further sections of the book...

Mapping the Lost Home: Psalm 137 and Jesmyn Ward’s Sing, Unburied, Sing

Mapping the Lost Home: Psalm 137 and Jesmyn Ward’s Sing, Unburied, Sing Rachel Ewing Jesmyn Ward’s 2017 novel, Sing, Unburied, Sing, tells the story of Jojo, a thirteen-year-old biracial boy in coastal Mississippi, and his family as they struggle to navigate issues of grief and addiction rooted in the generational trauma of racist oppression. When Jojo’s father Michael, a former meth cook, is released from the Mississippi State Penitentiary, also known as Parchman Farm, Jojo accompanies his mother Leonie, baby sister Kayla, and questionable family friend Misty on a road trip across the state to bring Michael home. Although the family is temporarily reunited, theirs is not a happy ending. Grandmother and matriarch Philomène dies of cancer; Jojo learns the horrific truth about his beloved grandfather River’s own time as a prisoner; and Leonie and Michael’s meth addiction intensifies. Anxious and restless, Jojo begins walking the woods near his home. In the final pages of the novel, such a walk leads him to something strange: a tree full of ghosts, with bird-like spirits perched two or three to a branch “all the way up to the top, to the feathered leaves” (282). The vision, which Kayla also sees when she and River follow Jojo, evokes the horrors of lynching, the “strange fruit” of Abel Meeropol’s poem and Billie Holiday’s famous song. Readers might also think of the tree of crucifixion, or the baobab tree of African legend.1 Considered alongside the ghosts’ behavior, however—the [End Page 143] “speaking” of the trauma of their death, and their longing remembrance of “home” when Kayla sings—the tree of ghosts functions as a modified iteration of the poplar(s) (or willow[s]) of Psalm 137, sometimes called the Tree of Lamentations, in which the exiled Judean singers hang their harps on the bank in Babylon. 1By the rivers of Babylon we sat and wept when we remembered Zion.2There on the poplars we hung our harps,3for there our captors asked us for songs, our tormentors demanded songs of joy; they said, “Sing us one of the songs of Zion!” 4How can we sing the songs of the Lord while in a foreign land?5If I forget you, Jerusalem, may my right hand forget its skill.6May my tongue cling to the roof of my mouth if I do not remember you,if I do not consider Jerusalem my highest joy.2 The psalm has a long history in resistance art. Rose Lucas, among many others, explains its adaptation to “articulate Caribbean and African-American experiences of colonisation and its resistant voices” (2) to express an important liberation theme in Rasta reggae music, and to contrast European and Indigenous experiences in Australian culture. In linking the landscape of the Mississippi coast to the site of exile on the riverbanks of Babylon, Ward brings these associations to bear. As we will see, the adaptation of the psalmist’s tree and the actions of the ghosts—the “speaking” of their trauma, their participation in Kayla’s song, and their refusal to leave the branches—allows the final scene of the novel to encompass both cathartic release and a lament for the loss of a symbolically complex “home,” a lament for a loss that is both past and ongoing, atemporal and rooted in a history of racial oppression. [End Page 144] Avoiding overly simplistic optimism, the ending of the novel is an expression of trauma that in its very existence resists erasure, a complex act of mourning that maps the contours of an unbearable vanishing point as well as a possible path forward. I The adaptation of the tree of Psalm 137 emphasizes “home” as a symbolic and psychological space. Composed after the burning of Jerusalem, the psalm is a lament not only for a physical homeland and cultural identity but also for social bonds previously used to define subjecthood. In the novel, the ghost of the murdered Richie, a boy who served time in Parchman with River, explicitly connects the concept of home to love and family, rather than physical space: “Home...

ЭВОЛЮЦИЯ СИСТЕМЫ АКТАНТОВ МОЛЬЕРОВСКОЙ КОМЕДИИ

The article deals with the evolution of the system of actants in Moliere’s comedy. The author of the article shows that throughout the entire body of Moliere’s work, the diversity of plots arises due to the fact that the playwright combines elements of various types of comedy in each play, primarily elements of Italian comedy (both sophisticated and commedia dell’arte) and French farce. At the same time, the characters not only realize the functions of the actants described by V. Propp and A.Zh. Greimas for fairy-tale and more broadly - narrative plots, but they are also endowed with features of the farcical types of “rogue” or “simpleton”. Playing with the plot scheme of the farce and the Italian comedy, Moliere freely combines the functions of various actors in the main characters of each play, either actualizing the well-known plot schemes or destroying them. Moliere’s favorite element of the plot scheme remains the denouement, which arises due to a happy accident, since its other types, in his opinion, are unable to lead to a happy ending.

Where Butterflies Fill the Sky: A Story of Immigration, Family, and Finding Home by Zahra Marwan

Reviewed by: Where Butterflies Fill the Sky: A Story of Immigration, Family, and Finding Home by Zahra Marwan Betty Bush Where Butterflies Fill the Sky: A Story of Immigration, Family, and Finding Home Written and illustrated by Zahra Marwan Home is shaped as much by region and culture as it is small, unique details, and it’s those specific, special elements that make a place feel truly our own. Drawing from her experiences in Kuwait and then New Mexico, Marwan offers a soothing tribute to homes old and new, as well as encouragment to child readers displaced from familiar turf and trying to gain a foothold on new ground. The interplay of simple, literal prose and complex, figurative illustration here lifts this sensitive and useful picture book on immigration into an inviting exploration of how experiences are transformed by time and memory. Young Zahra knows she lives in the perfect place, where the sky hosts butterflies and where “my ancestors live and are always watching.” She really cannot comprehend why her father insists they must leave, telling her only that they are not welcome anymore: “I say my goodbyes without knowing why.” While the new place across the ocean has no seashore, its air carries music and joy, the people look beyond her language struggles and make her feel at home, and long distance phone calls keeps her in touch with her beloved aunties: “In this new place of high desert, I have found a home.” Viewers will readily see why Zahra’s homeland is hard to leave. The golden warmth of the earthen buildings harmonizes with the rich turquoise of the sea, dotted with boats and under a sky filled with colorful butterflies. Friends and family gather on rooftops, and if the aunties look a bit intimidating in their black garb, there are clear signs of familial belonging in their close, protective body language and their streaming dark hair that matches Zahra’s own. Fortunately, her new home is equally beautiful, with lush green along a river and buildings made of new shapes but familiar earthen walls. There’s music and dancing and the possibility of a new friend as bright hot air balloons cheerfully float above. The concreteness of these there-and-here images notwithstanding, Marwan nudges viewers slightly off-balance. Exactly where are these places? Why do proportions shift? What are those white bulls that trail Zahra from old home to new? Essential back matter answers these questions, suppling not only the specifics of Marwan’s personal immigration experience, but also keys and clues to interpreting her evocative paintings. Marwan explains in accessible terms how nomadic movements, illiteracy, and lack of contact with formal government structures in 1989 led families like hers, with a Kuwaiti mother and a stateless father, to end up unregistered and pressured to emigrate. Absent observable catastophes such as [End Page 211] war or famine or natural disaster, it’s understandable a little girl would be baffled by political disturbance to her own happy life. Now, under adult reflection, she remembers the experience as “…dreamlike. A collage of different people, places, and things that all appear at once.” With a few contextual clues, the imagery isn’t difficult to parse: the smoking box carried by a looming auntie is myrrh incense for protection; the family’s airborne drift away from Kuwait and tumble into New Mexico, literally portrayed, is quite probably an airplane flight; the balloon-embellished sailboat far out to sea is a tribute to friends whose immigration stories did not share the happy ending of her own. Perhaps the most important recurring image is a playful one: the white bulls Marwan envisions as ancestors. Fore- or backgrounded, they watch her while she sleeps, carry packing boxes before her departure, and nap contentedly as she acclimates, which invites younger viewers to play seek and find, and older readers to appreciate that home never leaves you. Readers who use the contextual and symbolic keys can unlock discussion of what makes memory potent, what they might miss from a home left behind, and what they might value most in a new one—topics that can bridge age and experience within families on the move...

ЛОГОТЕРАПЕВТИЧНИЙ ПІДХІД ДО ПСИХОТРАВМ ЗЛОЧИННОЇ ВІЙНИ РОСІЇ В УКРАЇНІ

The Russian war crimes in Ukraine traumatize the psyche by violent alienation from humanity - they destroy the very foundations of the solidarity in people's life and the basic conditions of mental health: security of existence, justice and freedom. But such frustrations as hopelessness and “compensatory violence”, the most destructive reactions to this alienation, are countered by the real prospect for reliable restoration of these foundations in the near future - Ukraine with the help of the entire democratic world will protect goodness, humanity from the maddened evil. Thus, the main article hypothesis is: the righteousness of Ukraine's war against Russia and the real perspective of humanistic future after our victory is a guarantee for the effectiveness of the logo-therapeutic approach applied to psychological traumas obtained during this war. A significant consequence of a psychological trauma is loss by an individual of interest in his/her present or future (Z. Freud). Therefore, a necessary condition and a powerful factor of psychological rehabilitation for people with psychological traumas is the restoration of such interest. An individual's interests, which fill him/her with vital energy, are integrated into his/her meaning of life. The vital meaning of life is a necessary condition and a leading factor for an individual's normal formation and functioning, for his/her mental health (V. Frankl). Such meanings are based on universal values: 1) creativity; 2) experiences; 3) attitudes. The article substantiates the hypothesis that if the logo-therapeutic approach is applied to the psychological traumas obtained because of Russia's maleficent war in Ukraine, first of all, the attitude values “work”, which motivational and dynamic basis is freedom of choice manifested by an individual - the ability to choose one's attitude to one's own fate. In logo-therapy, a universal sanogenic attitude to all significant losses and destructions is based on an individual's belief in “super-meaning” - in the existing God who loves people, who gives a high meaning to the existence of humanity at all and every person and who nourishes hope for a happy ending of earthly suffering. We have shown how such faith overcomes the state of hopelessness, loss of interest in life, etc. caused by psychological traumas. The working procedure for clients with neurotic-fatalistic fixation on the consequences of their psychological traumas is highlighted. The efforts applied by an individual during this procedure is to make an existential choice of good, manifested ultimately is love, in the ability to care sincerely. An individual who cares with love feels his/her life-giving force, which fills him/her with sanogenic comfort - a powerful incentive to interest in life.

LAUGHTER AND EMPATHY

At a biological level, laughter was found to help in dealing with pain and suffering. From a psychological perspective, its effects have been studied both at intrapersonal and interpersonal levels. At an intrapersonal level, laughter contributes to self-regulating emotions (especially lowering the trait anxiety), diminishing the expression of anger, internally or externally, the same time with increasing self-acceptance. At interpersonal level, laughing together builds trust, while being laughed at may be traumatic. In the present study, the objective was to investigate the effects of laughter on empathy, awareness, and acceptance of personal experience. The participants in the study, all women, watched a situational comedy for 1.5 hours, with different life situations which may seem negative, but presented in an amusing manner, and, very important, with a happy end. At the end, they completed the empathy and awareness questionnaires. Statistical analysis, comparing their scores with those in a non-treatment condition, showed that laughing at the situational comedy significantly influenced almost all aspects of empathy, significantly decreasing the personal distress from empathizing with others, but also sensitivity and emotional interest towards them, without significant influence on awareness and acceptance of personal experience.

Zuzanka z pistacjowego domu Barbary Gawryluk jako przykład wzorcowej publikacji wyróżnionej w Ogólnopolskiej Nagrodzie Literackiej im. Kornela Makuszyńskiego

In her article Oliwia Brzeźniak-Pałgan analyses Barbara Gawryluk’s novel Zuzanka z pistacjowego domu [Zuzanka from a Pistachio House], which in 2010 received the Kornel Makuszyński Polish Nationwide Literary Award, in the context of the features characteristic Kornel Makuszyński’s work. The analysis takes into account the specific features of Makuszyński’s four most famous novels for children and adolescents (Panna z mokrą głową, Szatan z siódmej klasy, Awantura o Basię, Szaleństwa panny Ewy): unconventional protagonists, crazy (and dangerous) adventures, the readiness to help others, complicated family situations, humor, happy ending.

Pre-Assumption of Tess’ Happy Ending as Seen in Tess of The D’ubervilles by Thomas Hardy

The object of this research is the struggle of women as reflected by the main character Hardy, namely Tess. The author intends to show how the picture of a woman who never gives up to get a decent life, even though in the end she chose the wrong decision and ended her own life.
 The approach used in the analysis of women's struggles is a feminist approach, this is intended to provide an ideal view of women in literary works that are the object of male domination. In this research, the writer uses three methods: data collection by applying library research, data analysis using content analysis method that emphasizes the implied and explicit meaning in the fictional character of the literary work, and data representation by compiling the data obtained in systematic writing, namely thesis.
 The author sees that the character of Tess, as a woman who never gives up in her life. He had made several fatal mistakes which later brought misery and his own end. If only Tess hadn't made that mistake her life would have been for the better. First, if Tess hadn't told her she'd been raped then Angel wouldn't have left her. Second, if Tess didn't reject Angel's intention to return then she would live happily with her husband. Third, if Tess hadn't killed Alec, then she wouldn't have been sentenced to death and could live her life with her husband Angel.

Access to the EU Courts in Environmental and Public Health Cases and the Reform of the Aarhus Regulation: Systemic Vision, Pragmatism, and a Happy Ending

Abstract After years of debate, the Aarhus Regulation has finally been reformed. This article focuses on the amendments to the scope of application of the Regulation’s internal review and access to justice provisions, and demonstrates that these are the most important changes introduced by the reform. Not only do these amendments mark an important development towards full compliance by the European Union (EU) with its obligations under the Aarhus Convention; they also fill a vacuum, and solve the main problem which lay at the heart of the EU system of access to justice in environmental public interest cases. First, the article explores the obstacles faced by different stakeholders seeking access to the EU Courts by reference to specific categories of EU environmental law and risk regulation acts. This provides a systemic overview of different problematic aspects associated with different scenarios, unpacking all relevant implications. Secondly, it embraces a pragmatic perspective and draws a clear distinction between challenges to legislative and regulatory acts. Against the backdrop of this examination, the article identifies the main problem of the EU system: the application of the ‘complete system of legal remedies’ rationale to the specific case of regulatory acts. Further, it highlights that there is no ‘interpretative’ way out of the TFEU conundrum. Thirdly, the article analyses the Commission’s disappointing proposal for a reform of the Aarhus Regulation and the final text of the 2021 amendments to the Regulation. The story has a (surprisingly) happy ending. The EU institutions have finally acknowledged the main problem in the system of access to the EU Courts in environmental matters, and recognized the need to solve it in the specific context of the Aarhus Regulation.

Alexander Ostrovsky’s play “Late Love”: from its conception to the implementation

The article examines the contents’ peculiarity of the play “Late Love” in accord with its author’s artistic intentions. For the first time hand-written materials (rough copies and the play’s draft) have been taken into account and brought into academic use; the chirographs make it possible to bring to light the main points of the play and its vital problems. Special attention is paid to still greater importance the author was lending to the love story while working at the play; it helps to reveal the meaning of the play’s title. It is noted that for the first time Alexander Ostrovsky had shown a highly moral heroine who committed crime for the sake of the man she loved. In this connection, a few opinions of some critics are cited who gave negative estimation to the play. Analysing the play’s artistic merits the authors of the article take notice of the fact that the action is concentrated in time and space. The Shablovs’ house where lawyers, a tradesman, a landlady, and a clerk make their appearance, reflects to a certain extent the social strata of the post-reformed Russia and the tendencies typical of that world. The study of the initial draft made it clear that Alexander Ostrovsky thought over at first the play’s “scenario”, the number of personages, determined their characters and their role in the action’s development. The dramatic action and the happy end draw the spectators to the conclusion that a human’s salvation from its moral ruin is love, personal ability to repent and to realise its responsibility for the people close to it and for the world as a whole.

Mortality Predictors in Severe COVID-19 Patients from an East European Tertiary Center: A Never-Ending Challenge for a No Happy Ending Pandemic.

(1) Background: There are limited clinical data in patients from the Eastern European regions hospitalized for a severe form of Coronavirus disease 2019 (COVID-19). This study aims to identify risk factors associated with intra-hospital mortality in patients with COVID-19 severe pneumonia admitted to a tertiary center in Iasi, Romania. (2) Methods: The study is of a unicentric retrospective observational type and includes 150 patients with severe COVID-19 pneumonia divided into two subgroups, survivors and non-survivors. Demographic and clinical parameters, as well as comorbidities, laboratory and imaging investigations upon admission, treatments, and evolution during hospitalization were recorded. First, we sought to identify the risk factors associated with intra-hospital mortality using logistic regression. Secondly, we assessed the correlations between D-Dimer and C-reactive protein and predictors of poor prognosis. (3) Results: The predictors of in-hospital mortality identified in the study are D-dimers >0.5 mg/L (p = 0.002), C-reactive protein >5 mg/L (p = 0.001), and heart rate above 100 beats per minute (p = 0.001). The biomarkers were also significantly correlated the need for mechanical ventilation, admission to intensive care unit, or multiple organ dysfunction syndrome. By area under the curve (AUC) analysis, we noticed that both D-Dimer (AUC 0.741) and C-reactive protein (AUC 0.707) exhibit adequate performance in predicting a poor prognosis in patients with severe viral infection. (4) Conclusions: COVID-19′s outcome is significantly influenced by several laboratory and clinical factors. As mortality induced by severe COVID-19 pneumonia is considerable, the identification of risk factors associated with negative outcome coupled with an early therapeutic approach are of paramount importance, as they may significantly improve the outcome and survival rates.

The noetic feeling of confusion

ABSTRACT Feeling confused can sometimes lead us to give up on a task, frustrated. What is less emphasized is that confusion may also promote happy (epistemic) endings to our inquiries. It has recently been argued that confusion motivates effortful investigative behaviors which can help us acquire hard-to-get epistemic goods. While the motivational power of confusion and its benefits for learning has been uncovered in recent years, the exact nature of the phenomenon remains obscure. In this paper we attempt to shed light on the nature and epistemic value of an experience we are all familiar with: the experience of being confused at an object, a statement, etc. We first review the psychological literature on confusion, where it is most often considered to be an epistemic emotion. We then propose a refined account of confusion, by drawing on the literature on metacognitive or noetic feelings, both in psychology and in the philosophy of mind. Finally we show how our account may explain findings about the role of the experience of confusion in motivating deeper inquiry into complex problems and bringing about epistemic success in these cases.

Adam Grener. Improbability, Chance, and the Nineteenth-Century Realist Novel.

Adam Grener. <i>Improbability, Chance, and the Nineteenth-Century Realist Novel</i>.

Two stories with one happy ending. What constitutes the political culture differences between Egypt and Tunisia during and after the uprisings?

ABSTRACT After the Arab uprisings, Egypt and Tunisia had divergent paths towards democratization. Can this outcome be attributed to differences in political culture orientations between Egyptians and Tunisians during and after the uprisings? By employing the Arab Barometer Waves II, III, and V data, this article analyses the associations among political culture orientations and depicts how these associations change over while accounting for the social, political, and economic peculiarities. To discover the relationships across indicators, we employ multiple techniques from the attitude network modelling framework: network trees, and Bayesian learning networks. Our results reveal the significantly different political culture orientations across the waves and countries and provide a comprehensive picture of how the paths of the two countries diverged over time. This study not only explains why Egyptian and Tunisian paths to democratization converged during the transition period and diverged in the aftermath but also introduces a novel empirical modelling strategy.

Outsiders on the Inside: Mestizaje and the Economics of Colonial Desire in Sinibaldo de Mas and Francisco de Paula Entrala

Throughout the last twenty-five years of the Spanish colonization of the Philippines, Spaniards published essays and fiction that echoed the view that the colonial project was doomed to failure, clearly expressed in Sinibaldo de Mas’s 1843 Informe secreto (Secret Report). Less attention is paid to nineteenth-century works by peninsulares that mirrored Mas’s alternative plan preparing for Philippine “emancipation” and economically incentivizing mestizaje. Among these were the fiction and essays of the self-described “aplatanado” Francisco de Paula Entrala, which suggested that any failure of mestizaje as a normalizing colonial project was due to the shortcomings of the peninsular Spaniards themselves. In his 1881 Olvidos de Filipinas (Philippines Forgotten), Entrala’s rhetorical shifts simultaneously grant him the authority of an insider to Manila culture and acknowledge his position as colonial outsider; while in his 1875 “El rostro y el alma” (“The Face and the Soul”), he plays with the conventions of romantic narrative and of costumbrismo to portray mestizaje as the economic salvation of the would-be colonizers and a “happy ending” to failed Spanish imperialism.

Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism

Research Article| December 01 2021 Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism Max Tohline Max Tohline MAX TOHLINE is an independent film scholar whose work focuses on temporal plasticity in cinema. He publishes video essays at maxtohline.com. His work has also appeared in Open Screens Journal and Bright Lights Film Journal. Search for other works by this author on: This Site Google Journal of Film and Video (2021) 73 (4): 3–14. https://doi.org/10.5406/jfilmvideo.73.4.0003 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Max Tohline; Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism. Journal of Film and Video 1 January 2021; 73 (4): 3–14. doi: https://doi.org/10.5406/jfilmvideo.73.4.0003 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJournal of Film and Video Search Advanced Search The text of this article is only available as a PDF. Copyright 2021 by the Board of Trustees of the University of Illinois2021 Article PDF first page preview Close Modal You do not currently have access to this content.

From the Editor’s Gable

The fall 2021 issue is an interesting assortment of essays, the themes of which interconnect and overlap, even though this is not a special issue. In the first essay, “‘To continue their illustrious breed’: Aristocracy, Democracy, and the Search for Dignity in The House of the Seven Gables,” Martin J. Groff examines power structures in Hawthorne’s second novel—contrasting the traditional aristocracy of the Colonel and the Judge with the more liberal capitalism of Hepzibah and Holgrave—to ascertain Hawthorne’s views on the possibility of a true democracy. In “A Somewhat Wilder Grace: Hawthorne, Humboldt, and Withstanding the Collapse of Nature into Symbol in The House of the Seven Gables,” Evan Manzanetti also examines The House of the Seven Gables, but through the lens of a burgeoning sense of ecological thinking, as he examines Hawthorne’s views of nature in that novel with the environmental philosophy of Humboldt. In “‘No Such Fairy Land, so like the real world’: Miles Coverdale’s Performance of the Utopian Spectacle,” Ashley Rattner looks at the demise of the Brook Farm utopia (1841–1847) and Hawthorne’s short-lived stay (April–November 1841) to analyze the relationship between Hawthorne and his reader; Hawthorne attempts to provide a corrective to the audience who would equate the narrator with the author. In “Nathaniel Hawthorne’s Reframing of That ‘which Milton tells about’: Literary Influence and Blithedale’s Queer Masque,” Matthew Joseph Helm offers another view of The Blithedale Romance by analyzing two modes of influence. He illustrates how some critics seeking to establish a national literature saw the novel in a positive light, but that other more conservative readers questioned his unorthodox depiction of marriage. Helm also shows how Hawthorne’s romance recasts characters from Milton in order to sub-vert ideas about hetero-patriarchal lineage. In the final essay, “‘A Deeper and More Conscious Silence’: Aurality in Thoreau and Hawthorne’s Journals and Later Works,” Michael S. Martin examines Hawthorne’s journalistic writings (in his Notebooks) and his novels in terms of his interest in silence and then aligns those ideas with Thoreau’s own commentary about silence; by making these comparisons, Martin shows how distant the twen-ty-first-century audience has become in their own attitudes toward silence. These interesting essays about capitalism, environmentalism, author-reader relationships, radical views of marriage, and provocative silences reveal a Hawthorne less conservative than critics have often made him out to be. The issue ends with a review by Ariel Clark Silver of David Diamond’s recent book, Psychoanalytic Readings of Hawthorne’s Romances: Narratives of Unconscious Crisis and Transformation (2021), Diamond’s upbeat character analysis invites the reader to see happy endings to Hawthorne novels, often read as culminating in dark conclusions.I would like to thank my Dean, Dr. Peter Kingstone, and my chairman, Dr. Jonathan Greenberg, for their continued support of my editorship.

Exhibition Review: Niki de Saint Phalle: Structures for Life

Exhibition Review: <i>Niki de Saint Phalle: Structures for Life</i>

A Happy Ending for Lady Skipwith: Portraits by Reynolds and Lawrence

Abstract This essay explores the relationship between biography and portraiture in British paintings of the late eighteenth and early nineteenth century. New biographical information about Selina, Lady Skipwith (1752–1832), a sitter portrayed by both Sir Joshua Reynolds (1723–92) and Sir Thomas Lawrence (1769–1830), offers opportunities to examine the possibilities and limits of biography in art historical investigation.