Implicit Opposition Research Articles

Марийская мифология и «поэтика необычайного» в романе Ш. Идиатуллина «Последнее время»

the article is devoted to the consideration of the functions of myth and folklore in modern fantasy literature. The relevance of the work is due to the need to clarify and concretize the role of national mythology in the formation of the aesthetic system of transcultural literature. Objective: to identify the role of the Mari national mythology in the creation of the “poetics of the extraordinary”, which is most fully realized in the fantasy genre. Research materials: the novel “The Last Time” by Shamil Idiatullin (2020), the artistic basis of which is Mari mythology and folklore. Results and novelty of the research: it is revealed that the fabulous and mythological model of the world was comprehensively manifested in the nomination of its main character – the ancient people of Mary. Falling into the sphere of a conditional, fictional reality, the Mari people, as well as their spatial localization (the novel mentions reserved and sacred groves, numerous rivers and meadows of this amazing land) are rethought and transformed, obeying the genre laws of ethnofantastic narration. The poetics of the extraordinary is most fully revealed in the implicit opposition of images associated with waterfowl (Ivy, Chepi, Pozanay, Mother Goose), which genetically go back to the cosmogonic myth and a predatory bird (Koshshe). It is proved that in the novel “The Last Time” the patterns of functioning of mythological images and motifs characteristic of transcultural literature are appeared. At the heart of the mythopoeic picture of the world, which is created not only in the context of Mari traditions, but also Tatar, there is interference – linguistic, cultural, aesthetic. Codes dating back to different national-artistic and cultural-historical systems are layered on top of each other and generate meanings relevant to the borderline type of artistic creation, which are saturated with the nomination of characters and natural images, plot events and their interpretation, the motivation of the actions of the characters, the genre nature of the fantasy novel. The novelty of the work lies in the fact that for the first time an attempt to identify the meaning-forming functions of the mythological component of the text is made.

MULTIMODAL UKRAINIAN BRAND NARRATIVE: SEMIOTICS, STRUCTURE, ARCHETYPES

The aim of the study is to identify the structural-narrative, semiotic, and archetypal properties of the Ukrainian multimodal narrative as a semiotic space of secondary signification and social mythologization. The data for analysis include slogans and promotional multimodal videos (video narratives) of the Ukrainian brand “Золотий вік” (Golden Age). Based on multimodal research, semiotics and advertising mythology theories, as well as the theories of cultural archetypes, and utilizing multimodal, narrative, narrative-semiotic, and archetypal analysis, in conjunction with conceptual integration tools, the article has achieved the following key results. The Ukrainian brand narrative is a multimodal discursive construct formed by a combination of multiple semiotic codes realized through verbal and non-verbal sign systems via auditory and visual channels. The modules are integrated through multimodal video narratives, constructing a semiotic world integrated with the secondary signified “love” and the associated concepts that replace the denotative meaning of the brand as a jewelry company and its products as ornaments. The secondary signified is verbalized through slogans, visualized through plots, voiced by background songs or voice-over narrators, and encoded by cultural codes in their intertextual and archetypal aspects. Multimodal video-narratives, featuring various characters, narrative plots, and formal-narrative structures, exhibit isomorphism with respect to the possible worlds they construct, archetypal images, motifs, and characters, as well as analogous narrative plots with differing levels of reduction in structural narrative elements. The verbal module, based on a slogan, as well as invariant auditory accompaniment common to all video narratives – the song “Love” and off-screen narrative, supports a hermeneutic code because it contains a key metaphor based on the slogan and peripheral metaphorical components that reveal the conceptual features of its target space. The audio-visual module forms a proaritic code based on the narrative plots of advertising clips in a three-component possible world: extratextual frame narrative, textual pseudoreal narrative, and fairytale narrative. The cultural code is realized through various multimodal resources. The slogan and the brand name include explicit references to the source intertext based on the song. In the video narratives, techniques of interdiscursivity are used, combining elements of melodrama, a romantic story, and a fairy tale, as well as references to archetypal images, motifs, and elements of the archetypal cyclical time. Central to these are the archetypal images of dreams, magic, hearts, and motifs of the magical helper-giver, the journey, crossroads, and magical transformation of those who receive a branded gift. The main archetypes are those of gold and the ring-circle, associated with the symbolism of the sun. Cyclical temporality, associated with mythological time, is actualized by recurring motifs and underpins the unity of love and preciousness from the perspective of the connotations of “eternity” – as eternal spiritual and material values. The semantic code of connotations is related to the secondary signification meanings, which associate the brand’s products with “embodied” love and is based on all the brand’s narrative modules, constructing its social mythology. The symbolic code is based on archetypal symbols and the core value of the brand in its implicit opposition to values foreign to the brand, appealing to the motivational value of “love and the need for belonging” in the hierarchy of human motivations. The perspective for further research is the analysis of the pragmatics of multimodal narratives in Ukrainian brands.

Pre-translation Analysis of International Legal Discourse: From Social Semiotics to the Concepts of Lotman and Bakhtin

The discursive model of pre-translation analysis of international legal discourse relies on interrelated modules: the document conceptual space, with the harmonized value opposition between the concepts of "legal justice" and "compensatory justice", "common good" and "sovereignty"; the discourse addresser / addressee, embodied in the metonymic nomination "parties of the document"; the translator as an intermediate system, the semiospheres; extra-textual internalized realities. "Unifying" modules include semiospheres of international universal and basic branch documents, as well as universal human values and a shared internalized reality. The shared values underpin basic discursive strategies of consensus, solidarity, cooperation, marked by explicit and implicit intertextual means and additional strategies for minimizing imposition and hiding differences, implemented with tactics of generalization, mitigation and declarativeness based on passivation, nominalization, "marked theme", etc. Separating modules include semiospheres of the parties national legislations, marked by "without prejudice" clauses, metonymic nominations of "sovereign power", hedges scaling down the directive modality and idiomatic references to "public safety", etc.; semiospheres of recursive and procursive international branch texts that could be interpreted as conflicting with the document and are involved by 'non-affection' clauses and constative speech acts to fix the supremacy of one document over another. The document conceptual space may reflect the diverging interests and values of the parties, derived from implicit opposition between "legal justice" and "compensatory justice", harmonized by the documents. The markers of the "separating" modules are aimed at a combined strategy for predicting variable interpretation of particular norms with an indication of its source and normative harmonization. Keywords: International Legal Discourse, Model of Pre-Translation Analysis, Unifying and Separating Semiospheres, Value Opposition, Discourse-Forming Values.

Особенности моделирования художественного пространства в сказке Софьи Прокофьевой «Королевство семи озёр»

The features of modeling artistic space in Sofia Prokofieva’s fairy tale “Kingdom of Seven Lakes” (2004) are interpreted. The interaction of parallel worlds – real and fairytale – takes place in a fairy tale through dynamic metamorphoses of space: an uninhabited house turns out to be a portal to a magical land, a mysterious staircase is a path to an unknown world. In “Kingdom of Seven Lakes”, one of the ways to model space is the complete disappearance of real coordinates and the miraculous appearance of a new world from “nowhere”. Spatial characteristics and metamorphoses of the fairy tale space, the mythologeme of the ladder and the key, the opposition of horizontal – vertical, disappearance – appearance, openness – isolation, infinity – limitation, the coordinates of the demonic and heavenly worlds in Prokofiev’s work are subject to the movement of ethical thought. The downward movement, on the one hand, carries the semantics of growing danger, fear, doom, approaching death, on the other hand, it marks a magical transition into a fairy tale and back into the real world. The vertical – horizontal dialectics represents the motive of the main character’s journey in his movement towards an unknown goal. The adventures of the protagonist in the fairy tale universe with its spatial dynamics and the growing tension of struggle and movement determine Alyoshka’s actions, which require mercy, patience and courage from him and ultimately led to the salvation of the wonderful kingdom. His journey through the fabulous lakes symbolizes certain stages of the character’s spiritual path. The space of Evidentis Castle has a special status in the fairy tale. In the work there is an implicit opposition of heaven and hell, which has spatial characteristics. The sulfur lake, both in its name and in appearance (lack of air and in general real space in it, all-burning fire) marks a hellish place, while the revived royal castle of Evidentis appears as an image of universal happiness, love and unceasing fun, an eternal feast in divine bosom. Modeling of multidimensional and ambivalent space has a great discursive significance in the “Kingdom of Seven Lakes” and makes it possible to realize in the fairy tale the most important motif of the path – the path of growing up, knowing the world and self-knowledge of the young character, finding the higher meanings of being.

Clergywomen’s experience of ministry in the Church of England

The ordination of clergywomen within the Church of England in 1994, and more recently the consecration of women as bishops has generated significant public interest. This paper explores the clergywomen’s understanding of their ministry in light of these changes. This study explores the stories of twenty-one clergywomen in the Church of England who have served, or are currently serving, in stipendiary parochial ministry. Their ages range from twenty-nine years to sixty-three. Four were among the first to be ordained priest in 1994 and seventeen were ordained between 1996 and 2009. This study employs thematic analysis to enable insights into these women’s understanding of their experience of ministry. Three latent themes emerged from the data: perceptions of difference between explicit and implicit opposition; differences in how their ministry is perceived by others; and tensions in ministry between their internal and their external worlds.

What’s left unsaid? In-group solidarity and ethnic and racial differences in opposition to immigration in the United States

ABSTRACTDo racial and ethnic characteristics of non-immigrants play an important role in shaping attitudes toward immigrants in the U.S.? Using a 2010 survey experiment representative of the U.S. general population, this paper examines differences in opposition to immigration by the race or ethnicity of the respondent. By manipulating the amount of anonymity offered to respondents, the experiment allows explicit opposition to be distinguished from implicit opposition, which offers unique insight into the extent to which opposition is masked. Consistent with theories of in-group solidarity, we find that Hispanics, who comprise nearly half of all immigrants in the U.S., overtly express a less restrictive posture, which, relative to Black and White respondents, is not significantly masked. In contrast, White and Black respondents only overtly express more openness to immigration. When offered absolute anonymity, opposition is significantly and substantively greater. The implications are profound in that differences in the extent to which opposition is masked, rather than overtly expressed, fundamentally patterns racial and ethnic differences in opposition to immigration in the U.S.

Somerset Maugham's Ethically Earnest Fiction

This essay argues that the immensely popular and influential but critically neglected fiction of Somerset Maugham is best understood and appreciated from an ethical perspective. Inspired by the Ethics of Baruch Spinoza, Maugham created ethical parables that endorse the freedom of the individual to be true to his or her own nature. Maugham deftly employed typological characterisations, sensational situations, and melodramatic plots to convey his ethically earnest fictive argument, attracting a vast and loyal readership while placing his work in implicit opposition to the rarefied experimentalism of the Modernists who were his peers, prompting its marginalisation within the twentieth century literary canon.

Does Islam play a role in anti-immigrant sentiment? An experimental approach

Are Muslim immigrants subjected to targeted opposition (i.e., Islamophobia) on their pathway to US citizenship? Using a list experiment and a representative sample of the US population, we compare explicit and implicit opposition to Muslim and Christian immigrants. We find that Muslim immigrants, relative to Christian immigrants, experience greater explicit resistance. However, when social desirability bias is taken into account via the list experiment, we find that opposition to Christian and Muslim immigrants is the same. The explanation is that respondents conceal a significant amount of opposition to Christian immigrants. Muslim immigrants, on the other hand, are afforded no such protection. We find that religiosity or denomination do not play a significant role in determining implicit or explicit opposition. We conclude that Islamophobia, which is only explicitly expressed, is best understood as reflective of social desirability bias from which Muslim immigrants do not benefit.

Transparency in Neoliberal Academe

Transparency in Neoliberal Academe Jeffrey R. Di Leo (bio) If austerity is the measure of responsible academic conduct in the age of neoliberalism, then transparency is its watchdog. It is widely touted today as that which protects the public from both the misuse of academic resources and poor governance of the university. The public has come to expect increasing levels of transparency in the administration and governance of higher education both as a means of accountability and a mode of publicity. Implied in these calls for more transparency is a mistrust and cynicism regarding higher education in America. But transparency carries with it a lot of baggage.1 For one thing, calls for transparency always carry with them an implicit opposition to privacy and secrecy. Namely, increased transparency entails decreased privacy; and more publicity means less secrecy. The roots of the latter, in particular, can be connected to the rise of the modern state as one grounded not on secret practices, but rather on transparency, or more accurately, publicity. The emergence of representative governments in Europe in the second half of the eighteenth century established a consideration of publicity and transparency as protections against bad administration and misrule.2 As such, philosophers such as Jean-Jacques Rousseau, Jeremy Bentham, and Immanuel Kant played a large role in establishing the social, political, and ethical foundations of transparency. And it is these foundations that need to be recalled in order to gain some perspective on the role and function of transparency in higher education theory and practice today. The general questions raised in this essay are fairly transparent ones. Namely, what does it mean to call for “transparency” in the conduct of higher education? And is this a good thing? That is, is transparency something that contributes to the well-being of the university and those whose lives and education are connected to it—or is it something that works in the opposite direction? For that matter, what do we mean when we ask for “more” transparency from our colleagues? And how is this different from those whose aim is “perfect” transparency in the conduct of academe? While there is no doubt that transparency often can bring about greater levels of understanding and [End Page 341] trust regarding the workings of academe, it is also the case that it can do the opposite. Namely, increased calls for transparency can also become a hotbed for cynicism regarding academe. This is particularly true when those asking for more transparency are not members of academe. In this essay, it will be argued that even if the questions regarding transparency are transparent ones, responses to them are better classified as opaque. The social, economic, moral, and political issues surrounding calls for transparency in higher education involve a complicated and vexed dynamics. From one perspective, transparency of administration to faculty is one of the most important gauges of shared-governance. Administrators who do not share with faculty important decisions and the rationales for them are in many ways de facto bad administrators. However, from another perspective, transparency by administration to government and those outside of higher education has become one of the most destructive forces to the modern university, especially when university-life is reduced to performance measurement and based upon mistrust and cynicism regarding higher education in general. Consequently, it will be argued that transparency is one of the most-contested and controversial aspects of higher education today. Unpacking its dynamics within the university today reveals it to be at once the measure of effective shared-governance as well as the perennial watchdog of the neoliberal academy. Transparency in neoliberal academe often pulls it in two opposing directions: one moves toward greater levels of efficiency, surveillance, and austerity as well as preservation of the economic interests of the academy, whereas the other aims toward protecting the interests, rights, and dignity of faculty as well as toward ensuring the academic integrity of the institution. As such, the push and pull of transparency between conflicting sets of interests greatly complicates its role in the academy. Let’s begin though with an overview of the major philosophical foundations of transparency. We’ll start with more recent analytic work on...

„Сахиб“ Ненада Величковића – романом упркос балканизму

This paper examines the critical interpretation of the Balkanist treatment of the Balkan Peninsula and its populations by the West in the post-socialist era, as represented in the novel Sahib by Sarajevo writer Nenad Velickovic, in the context of international peace and recovery missions in Bosnia and Herzegovina during and after the 1990s confl icts. The writer grounds his critical interpretation on a reversal of the narrator’s position relative to the dominant codes of the local culture and against the assumed humanistic character of international humanitarian interventions. Some of the themes and issues present in this satirical epistolary novel are otherness, through an implicit opposition of the Western and Balkan cultural models and elements, balkanisation understood as the fragmentation and demise of selected nation states in the interest of neoliberal capitalism as well as societal regression into tribalism, vulgarisation of linguistic and communication standards and the intrusion of aggressive Western discourses, and de-tabooisation of the writer’s culture and society.

Common Ground, Multiple Claims: Representing and Constructing Singapore’s “Heartland”

This article examines the various meanings of “heartland” and “heartlander” in Singapore that emerged as the city-state embarked on its transformation into a global city in the 1990s. It discusses the political and ideological nature of these terms, including the way the state has tended to deploy them and the ways they are used in public discourse. The terms’ usage serves as a measure of the state’s not unproblematic attempts to define its citizenry in order to reinscribe its legitimacy. The deployment of the terms by non-state actors and individuals, however, indicates greater civic involvement in national self-identification, which complicates the official state version. The article focuses on two significant Singapore texts that contribute to the cultural imaginary of the heartland and the heartlander – the novel Heartland by Daren Shiau and the film Eating Air by Kelvin Tong and Jasmine Ng. In implicit opposition to the state view, these creative works seek to convey a sense of the local and of national authenticity through their creative representation of the Singapore heartland and what it means to be a heartlander, disclosing in the process various social tensions, silences and cultural blind spots.

Tarasti's existential semiotics: Towards a functional model

Abstract The accompanying article aims to develop Eero Tarasti's inceptual theory of existential semiotics into a fully functioning if rudimentary model for semiotic analysis. It consists of the presentation, analysis, and critique of several of the essential but nebulous formulations that Tarasti offers, and the development on this basis of a tool for existential semiotic analysis: an existential version of Greimas' semiotic square. The particular concepts concerning which Tarasti is taken to task are transcendence, endo-/exo-signs, and understanding. In each case, the analysis and critique follows the same lines: revealing how Tarasti's implicit opposition to structuralism belies a fundamental misappropriation of the existential tradition and demonstrating how it is possible to develop his initial insights both into a more faithful appropriation of existentialism and into a more fundamental structuralism. On the foundation of the clarified concepts of transcendence, subjectivity, and understanding, an existential semiotic square is then developed that, while remaining rudimentary, will at least support basic existential semiotic analysis. Examples are given to demonstrate its functionality.

Rethinking leisure and self : Three theorists for understanding computer and video game leisures

Computer and video games present a powerful challenge to assumptions held in leisure literature about the value and quality of leisures. Although typically viewed as negative, computer-based leisures are one of the fastest growing segments in terms of participation and revenue-generation. Where disciplines like game studies and cultural studies have embraced the possibilities for self-development in computer and video gaming, leisure studies has (with few exceptions) either ignored the role that virtual leisures play, or reduced virtual leisures to perversions of existing leisure activities. In this article we consider how computer and video games – virtual leisures – must be understood in their own terms without being reduced to traditional assumptions about leisures. A primary misunderstanding about virtual leisures is an implicit but flawed opposition of the ‘real’ and the ‘virtual’, where physicalism is set as the gold standard for leisures. We consider how three thinkers – John Cage, Henri Lefebvre, and Gaston Bachelard – create a new language for understanding how virtual leisures are expressions of space and place that engage human beings on physiological, emotional, and mental levels. We consider how computer and video gaming throw conventional assumptions about leisures into relief, and introduce new questions about embodiment and expression. Given research demonstrating beneficial outcomes of virtual leisures, we suggest revisiting the negative judgments about virtual leisures and call for understanding the fascination with these manifestations of leisures.

The Ambivalent Paintings of Judy Watson

This paper takes as its starting point Vivien Johnson's claim that the paintings of Judy Watson (1959-) privilege emotion and resist a 'cognitive bias' common to a wide range of discourses on Aboriginal painting, tradition-based and otherwise. This claim will be tested through a close reading of four works - the guardians (1986-1988), internal landscape (1994), heartland (1991) and shoal (1998) - which, it will be argued, frame embodied identity and spirituality in Aboriginal and feminine-specific terms. Johnson identifies in Watson's paintings a feminist strategy of privileging emotion to evoke a 'felt, rather than thought, connectedness' to Aboriginal countiy and artistic tradition. While Johnson posits an implicit opposition between emotion and thought, contrasting Watson's paintings with more overtly political works by Aboriginal artists who have adopted the 'approved 'quotational' mode of Post-modernism,' this essay will argue that the political aesthetic of the four works in question is located in their capacity to generate ambivalent moods and modes of thought.

AUTHORITY AND RESISTANCE: The Event in What Where

This essay presents a postmodern reading of What Where in the context of contemporary theory of the event. Through the constant interdiction of successive phrases, an effacement of the event of the phrase is contrasted with the singularity of that phrase itself. Yet, it is the Ereignis - the phrase's sin gularity - which precludes closure and ultimately functions as a mode of resistance. Even if the play is a pessimistic one, the indictment of the increase of knowledge by barbaric means, and the implicit opposition to discursive knowledge-systems themselves, might be interpreted as a challenge to the imperative of intelligence collection and its contemporary implications.

Reproducing Gendered Hierarchies in Everyday Work: Contradictions in an Employment Office

This paper is concerned with the dynamics of producing gendered hierarchies in the workplace. While the focus is on the present day, developments over the past ten years are also examined. The term ‘doing gender’ is adopted as a method of outlining these dynamics within seemingly static gendered hierarchies. Within the case study organization, a Finnish employment office, the ways of doing gender have shifted from maintaining gendered hierarchic harmony towards women?•s and men's separate but invisible cultures. However, men's practices are linked in a more direct way to the textual and official goals of the organization, whereas women's working methods show some implicit opposition to the organizational logic. Throughout gendered contradictions are emphasized: between inequality and equal opportunities; informal sociability and formal rules; and the invisibility and visibility of gender.

Memory and Writing from Wordsworth to Lawrence

In this wide-ranging work, the author challenges T.S. Eliot's belief that 'the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates'. Davis examines the relation of imagination and the creation of art to the experience of life, both individual and social, which provides the source and subject of so much nineteenth-century literature. In its detailed and closely argued examination of the effects of life experience within the works of a creative writer, this study is in implicit opposition to those current critical trends which deny the significance of the writer as a human being. It is thus an important and highly original contribution to literary criticism, which will be valued and argued over by all who are engaged in serious thinking in this field.

Exile from the Kingdom: A Political Rereading of Albert Camus , and: Sartre: Literature and Theory , and: Reflections on Malraux: Cultural Founding in Modernity (review)

Reviewed by: Exile from the Kingdom: A Political Rereading of Albert Camus, and: Sartre: Literature and Theory, and: Reflections on Malraux: Cultural Founding in Modernity Ben Stoltzfus Susan Tarrow . Exile from the Kingdom: A Political Rereading of Albert Camus. University: U of Alabama P, 1985. 221 pp. $20.75. Rhiannon Goldthorpe . Sartre: Literature and Theory. New York: Cambridge UP, 1984. 246 pp. $39.50. Will Morrisey . Reflections on Malraux: Cultural Founding in Modernity. Lanham: UP of America, 1984. 335 pp. $26.50 cloth; pb. $13.75. In Exile from the Kingdom: A Political Rereading of Albert Camus, Susan Tarrow interprets Camus's fiction in the light of nonfictional texts in order to elucidate his political vision. Although much shorter than Emmet Parker's The Artist in the Arena (1965), Herbert Lottman's Albert Camus: A Biography (1979), or Patrick McCarthy's Camus (1982), Tarrow's book, in spite of some annoying repetitions, is a much more satisfying study of Camus's works because all the biographical references illustrate her main thesis. In nine chapters Tarrow discusses Camus's early years in Algiers, his pursuit of happiness in A Happy Death, his affiliation with Alger-Républicain, his implicit opposition, in The Stranger, to the values of colonialism that are perceived as oppressive and paternalistic, and his "resistance" during the German occupation of France. Then Tarrow analyzes Camus's intellectual impasse of the late 1950s and argues that his work reveals an ever-widening gap between his theoretical positions and his values. She believes that the distance between Camus's intellectual and political side is the result of his education—closely linked with the French language and with his identity as an artist—and his view of the world, which was formed by his origins in a pied-noir milieu in Algiers. Tarrow's book is also a lucid analysis of Camus's political stance during the early postwar years when he refused to take sides either with the right or with the left, thereby emphasizing the relativity of all values in opposition to absolute ideals. During this period his articles in Combat affirmed revolt and not revolution, the sanctity of life and not History, the dignity of the individual and not the abstraction of ideology. Camus argued against the totalitarianisms of the left and of the right, denouncing Franco's fascism and Stalin's labor camps as well as the greed and complacency of the bourgeoisie. Tarrow suggests that amid the furor of the Algerian controversy, Camus's sole objective—apart from his career as an artist and his nonpartisan stance that was such a profound disappointment to left-wing intellectuals, particularly Jean-Paul Sartre—was to improve the lot of the underprivileged. Tarrow presents a persuasive case against the views of Conor Cruise O'Brien (Albert Camus of Europe and Africa [1970]) and Henri Kréa ("Le Malentendu algérien," France-Observateur, 5 January 1961). Tarrow quotes frequently from Camus's Notebooks and newspaper articles, thereby comparing his intentional statements to passages in his fiction that corroborate his political views. She thus establishes a link between authorial intent, commitment to sociopolitical causes, and Camus's art. In this context The Plague is viewed as an allegory of exile, separation, tyranny, and death. It becomes a vision of a totalitarian universe in which Camus raises pertinent issues concerning happiness, justice, and commitment. Although much of Tarrow's book chronicles familiar knowledge, it is organized in such a cogent way that it gives fresh consistency and plausibility to Camus's political thinking. The chapter entitled "The Limits of Rebellion" examines The Rebel, the Sartre-Camus controversy, and the virtues of revolt versus revolution. In "True Believers or False Prophets" [End Page 829] The Fall is viewed as an extension of the Sartre-Camus quarrel in which Camus's personal dilemma is resolved through irony. This chapter gives us a particularly convincing reading of Camus's ambivalence concerning the Algerian situation, his hostility to Marxist and bourgeois values, and his hurt pride over the Sartre-Jeanson criticism of The Rebel in Les temps modernes. In the chapter entitled "Exile from the Kingdom," a brief analysis of each story in The Exile and...

Cassius Dio's Speech of Agrippa: A Realistic Alternative to Imperial Government?

In Dio's debate on constitutions, set in 29 B.C., the speech favouring democracy occupies chapters 2–13 of book 52, and the speech urging monarchy runs from 14–40: most of this speech, indeed the main content of the whole book, is a detailed set of proposals for the administration of the Roman Empire, written with a view to being applicable in the writer's own time, more than two hundred years after the dramatic date of the debate. the dramatic date of the debate. Millar calls these chapters ‘a political pamphlet’, and suggests that Dio abandoned an earlier plan to fit them in to book 52. There is evidence, though, that the book was planned in its present form, but for the lacuna between chapters 13 and 14, and that the relatively brief speech of Agrippa was composed not as part of what was intended to be a balanced debate (balanced in terms of length, with point answering point in the rival speeches), but as a brief preliminary piece in explicit and implicit contrast and opposition to the ideology of the speech which forms the main thesis of the book; in a coherently planned debate, Dio states first the case for democracy in order to provoke the reader to question whether it could have been put into action – whether it is realistic.