Make-believe World Research Articles

BEYOND DICHOTOMY WITH TAOIST VISIONIN LE GUIN’S THE LEFT HAND OF DARKNESS

The research set out to shed light on balancing awareness, a key Taoist concept that forms the basis of American science fiction author Ursula K. Le Guin's creative works. The balance in Le Guin's work represented the peaceful coexistence of conflicting forces. Le Guin applied Taoist ideas, such as the interdependence of two opposites and non-interference, to convey her concept of balance. The Left Hand of Darkness by Ursula K. Le Guin, published in 1969, served as the primary text for this qualitative study. In The Left Hand of Darkness, the concept of balance was built on transcending the binary split and forging peaceful connections between I and the Other. To reflect her Taoist understanding of the relationship between I and the Other, Le Guin created an androgynous universe in The Left Hand of Darkness and employed the concept of a journey to the alien territory. The results demonstrated that in Le Guin's make-believe world, the protagonists from two different cultural backgrounds completed their trip by bridging the mental division and acquiring Taoist wisdom. The Yin-Yang emblem and the reading of the ancient poem served as metaphors for the peaceful coexistence of dualistic opposites. By transcending dualistic opposites and recognizing a connection between I and the other, Le Guin's worldview, which drew inspiration from Taoism, achieved holistic success.

Estetika van Televisievermaak

AGAINST the background of the indefinability of entertainment the author postulates a for questions that the researcher could ask in connection with the viewer's aesthetic exparience of television entertainment, par ticularly related to television fiction. The central question is: why and how does television entertain the viewer? This question leads on to the following questions: what is entertainment? The answer is that it is in definable. In the style of Plato the researcher should then ask the following: but what is it that leads the viewer to attach the value "entertainment", which is associated with pleasure and satisfaction, to television fic tion? Possible answer: catharsis due to the ability and needs of the viewer to identify with a make-believe world and characters. What makes this identification possible? Amongst other possibilities specific rhetorical motifs which have always been associated with communication pleasure and which are also present in the content (and forum) of television fiction. Is this the big answer? No. The aesthetic experience of a work (also of television) does not allow it to be described easily.

Images, fantasy and violence: Woman in North Indian performance tradition svang

ABSTRACT The performative space of svang is primarily located within a prison house of male values, perspectives and judgments. In these performances, females are often revealed through male guts, literally and metaphorically, in their androgynous transformations wherein less of a woman and more of a man, they become a specimen of collective male consciousness on the stage. One important pattern of these representations is idealization of females as mothers/sisters and their devaluation as wife/beloved, revealing a significant ideological drive towards a dualistic image construction. The play of violence in these dramatic representations becomes manifest through a representational ideology, demarcating the feminine from the masculine in a set of attributes which become instrumental in constructing an on-stage image of females as unreliable and primitive. These popular dramatic representations constitute a space which largely remains in contrast to the practical and physically active world of the rural women and imagine a fantasy land where the male imagination cuts and fits females into fixed parameters of a make-believe world. Controlled and created by male imagination, watched by a male audience and often represented by males themselves, these representational spaces produce a curious impression of a group-controlled male fantasy in which females become a victim of a concerted psychological violence. The present paper seeks to dwell on the imaginative violence which is produced by these representations on the popular performative space of North India by focusing on examples from dramatic performances of svangs on the rural stages of North Indian states of Haryana, Uttar Pradesh, Punjab and Rajasthan.

Fear of an Alien Planet: Public Functions and Framings of Extraterrestrial Intelligent Life

This paper explores popular representations of extraterrestrial intelligent life in their cultural context. How does the cultural environment affect these representations? How does the political economy of the mass media industry shape these representations? With Edward Said’s Orientalism (1976) as a guide, I will examine a sampling of commercially produced and globally marketed television and film content featuring extraterrestrial intelligent life – that is, “aliens.” Why are aliens such a common subject on television and in film? What do these make-believe aliens do, and mean, for viewers? I posit that these popular representations provide arm’s-length, safe encounters with the Other. These encounters may feed our yen for the new and different. On the other hand, and perhaps at the same time, they may be a manifestation of our fear of it. In fictional encounters with alien invaders, humans tend to end up exterminating the would-be exterminators. Post-Cold War, post-9/11, post-Gulf Wars I and II, in the 21st Century of Terror, the Western world has identified a new enemy, and it is anybody “different.” While bigotry, racism, sexism and xenophobia are not socially acceptable in Western “society,” they are all operative in contemporary culture. In the real world, vilifying and abusing people because of their origin, skin color, appearance, or beliefs is taboo. In the make-believe world of mass-media science fiction movies and “infotainment” TV, however, it is not only all right but encouraged. There, extraterrestrial intelligent life is routinely slaughtered en masse to save the (Western) world.

A make-believe world with real-life results

A make-believe world with real-life results

Word problems and make-believe: Using frame analysis and ethnomethodology to explore aspects of the culture of schooling

AbstractThe paper applies Goffman’s frame analysis and ethnomethodology to student performance on mathematical word problems. In educational research, frame analysis has usually been limited to primary frames. Instead, in this paper I focus on the kind of secondary frame that Goffman calls ‘utilitarian make-believe’. The data consist of a fragment of verbal interaction between a teacher and a 12-year-old pupil during an oral mathematics exam. By evoking the idea of ‘as-ifness’, word problems introduce pupils to a make-believe world. The text consists only of ‘filler words’ because what really matters are the figures. Word problems and possibly other aspects of schooling can be interpreted in terms of a utilitarian make-believe key. Readiness to adopt this make-believe frame when required may be the difference between school success and failure. I argue that maths achievement takes more than just ‘being good with numbers’. It is a joint enterprise of people interacting within a culturally-shaped setting, organized so as to make some phenomena stand out rather than others. Finally, I argue that ‘word problems and possibly other ‘school genres’ could be added to the list of utilitarian make-believe frames provided by Goffman.

Hypothetical, not Fictional Worlds

AbstractThis paper critically analyzes the fiction-view of scientific modeling, which exploits presumed analogies between literary fiction and model building in science. The basic idea is that in both fiction and scientific modeling fictional worlds are created. The paper argues that the fiction-view comes closest to certain scientific thought experiments, especially those involving demons in science and to literary movements like naturalism. But the paper concludes that the dissimilarities prevail over the similarities. The fiction-view fails to do justice to the plurality of model types used in science; it fails to realize that a function like idealization only makes sense in science because models, unlike works of fiction, can be de-idealized; it fails to distinguish sufficiently between the make-believe (fictional) worlds created in fiction and the hypothetical (as-if) worlds envisaged in models. Representation characterized in the fiction-view as a license to draw inferences does not sufficiently distinguish between inferences in fiction from inferences in scientific modeling. To highlight the contrast the paper proposes to explicate representation in terms of satisfaction of constraints.

Constructing of Group Identity During Live-Action Role Playing Games

A LARP, or live-action role-playing game, is an activity enabling participants to act out their fictional characters in a make-believe world. It has followers all over the world. Research for this article was conducted in Moscow and St. Petersburg LARP communities, establishing a database with over 600 cases of “going out of character” in 2012-13. Analysis suggests that in certain cases breaks of game frame can enrich a LARP for its participants rather than spoil it. The results can be useful for enhancing sociological and anthropological understanding, including in such approaches as interaction analysis, community building research, game studies, and ludology.

Creating the space of truth in the make-believe world of the theatre: An interview with Peter Sellars

Abstract Peter Sellars is one of the most celebrated directors of opera, theatre and festivals in the contemporary West. He is well known for his adaptations of classic works in response to the political, social and economic conditions at the time of staging, while his activist politics and lack of reverence for hierarchical institutions frequently polarizes response to his work. In a spirited interview, conducted by academic and critic Karen Fricker in July 2013 as part of the Leverhulme Olympic Talks on Theatre and Adaptation, Sellars discusses his background in puppet theatre, his early career at Harvard University and the American National Theatre, and several of his important productions including Ajax (an adaptation of Sophocles by Robert Auletta, American National Theatre, 1986); Children of Herakles (Euripides, premiered at the Ruhr Triennale, 2002); and Desdemona, a music theatre piece created with writer Toni Morrison and singer Rokia Traoré in 2012.

No One Is Here Except All of Us by Ramona Ausubel (review)

Reviewed by: No One Is Here Except All of Us by Ramona Ausubel Helga Lénárt-Cheng Ramona Ausubel. No One Is Here Except All of Us. New York: Riverhead Books (Penguin), 2012. 410p. Ramona Ausubel’s first novel is the magical story of a tiny Romanian village at the beginning of the Second World War. Sensing the impending catastrophe, members of this remote Jewish community huddle together. They stop the mail service, bury the radios, and create a make-believe world in which only God and they exist. “… once upon a time, tomorrow was the first day of the world. The very, very first. The earth was unformed and void, and darkness was upon the face of the deep” (31). Echoing the voices of the Old Testament, they reinvent a world where “the past [is] no longer a place” (57). They relearn the meanings of their words, their commitments to each other, and even the shapes of their own bodies. Remembering is a choice that they do not consider. “And what of the things I remember? my mother asked. “You don’t,” the stranger said…(33)” They decide that this new world is “about hopes more than events” (38), which [End Page 68] helps them cope with their fears. They work so hard to believe in their story that they become convinced that the old world was the make-believe one. Willpower, of course, was not enough to reinvent the world. What they needed was the power of words, the power of storytelling. “If we wanted to survive in this story, we had to tell it that way” (32). So they start a new story, with a new beginning and infinite possibilities. And this is the story that Ausubel is writing. The little girl at the center of this story—the author’s grandmother—is enchanted by this endless new world, until she is given away to a rich uncle and aunt who force her to act like a baby. Having to reinvent herself in an already reinvented world, she struggles to remember herself. “I said that I hoped there was a little room left for myself, just a small cave somewhere between the imprinted feel of walking across wet grass and the precise tension of an apple giving way under a knife” (81). The unbearable lightness of a life without a past weighs so heavily that she has to fill page after page with lists of words of everything she knows. “Spit, babies, snot, spoon, death, dogs, saddle, horse, rain, anger, howl” (95). Telling stories and repeating words like a mantra helps her to remember who she is—at least temporarily, for a couple of years. But one day the “forbidden world stirs” (193), news of the outside world reaches the village, and the shared dream cracks. The real begins to “mate” with the dreams (249), and the fury of the world carries away both the villagers and their stories. The little girl—by now a mother of two—survives by the power of words, repeating to her sons who she is and who they are. And when she is forced to give up her only surviving son, she tells him: “This is just a story. I will always be your mother,” … “In this chapter Natalya is your mother. Nothing is changing except what we say” (323). Of course the child sees through this double-edged consolation. He knows that “nothing is changing except what we say,” but also that what we say can change the world. Ramona Ausubel’s novel is as unpredictable and alive as the reinvented world was on that first day. The sheer force of imagination that almost saves the village saves this ambitious novel as well. This is just a story, but it changes everything. Helga Lénárt-Cheng St. Mary’s College of California Copyright © 2014 Rocky Mountain Modern Language Association

Deception and Death in Medical Simulation

Medical simulation requires, by definition, a certain degree of “make believe.” The mannequin is not a real person, the scenario is not really happening, and no patients are either helped or harmed. Successful education in the simulated setting depends on skilled facilitators who can effectively per

Enron , Playing in "Little Houston of the North"

Enron, Playing in "Little Houston of the North" Nicole Edge (bio) Rats in suits, debt-eating dinosaurs, and traders dancing with tables above their heads: unexpected theatrical choices for a play about big business gone bad, yet a paradoxically realistic way of telling the story of Enron. When its bubble imploded just over ten years ago, this hyped-up, yet hollowed [End Page 104] out, superstar company resulted in the largest bankruptcy in American history. In the aftermath, its top executives were dead or jailed for convictions of fraud and conspiracy. Its employees, most of whom had gambled on big stock gain payouts for their retirement, were left with empty pockets. As someone whose career had centred on public company reporting, the Enron tale was notoriously familiar. Now, I was spectator to a mock-musical documentary of Enron's inglorious fall brought on by greed and executive ego. The play re-presents the back-stabbing rise of Skilling, the self-professed "smartest guy in the room" who fulfills his prophetic statement by ending his career alone in a cell. In January and February 2012, Theatre Calgary produced this play, set in Houston, Texas (in the period 1992 to the present day), under the direction of Antoni Cimolino. My first hint that the Calgary performance might provoke strong audience response was artistic director Dennis Garnhum's program note for this Canadian premiere, which warned, "How you feel about this play will reveal more about you and your life than about those men and women who walked the halls of Enron" (3). Garnhum's warning framed the experience to follow. The frenzied mix of sound, light, and strutting dance moves in front of big-screen media clips triggered a powerful flashback. I was once again caught up in the strung-out, frantic pace of the downtown business world I had known during the same period that Enron executives Kenneth Lay and Jeffrey Skilling were steering the company to the top of stock-market charts. The question of what in this play was fantastical representation and what was the "upsurge of the real" remains unsettled (States 34). There was nothing artificial in this play's hyperrealist portrayal of the business world. The young, eager, and angst-ridden traders were ghostly reflections of past colleagues and me. Playing with millions of dollars on a spreadsheet and dropping the f-bomb every second word—it was like the playwright, Lucy Prebble, took a recorder and played back a memory. I was once again caught up in the make-believe world of business where brand and perception create inflated stock value. From that perspective, the performance choice to depict the silent and nameless Enron board members with larger-than-life, rats-in-a-suit costumes seemed rational. The fact that they were all white male rats—a statistically representative sample, and one that is unfortunately still applicable for board membership rosters today—delivered an ironically humourous element. The raptor mascots hidden in the bowels of Enron's staged corporate headquarters were theatrically effective in representing the fabricated shell companies that once held billions of Enron's off-balance-sheet debt. Despite the costumed form of an abstract idea (for these companies never had any physical presence), it worked as performance. These imaginary creatures seemed no more improbable than the convoluted hedges and derivatives that remain difficult to accept as being actual financial instruments with value. We see what we want, or expect, to see, and the raptor constructs seemed as real as the business world, as real as the ideology documented in the play. What the play highlights is that business beliefs and values are constructed. They are not necessarily based on, or tied to, actual objects (an analogy is that our money today is abstract; it is no longer tied to gold sitting somewhere in a vault). There is no difference between the make-believe dinosaurs and the dollar value assigned to business ideas. The market will pay to play. Value is perception; it is the story we tell and buy into. Click for larger view View full resolution Jeffrey Skilling and Andy Fastow celebrate their genius as the Raptor plan receives a non-veto...

VERNACULAR ARCHITECTURE: AN INTRODUCTORY COURSE TO LEARN ARCHITECTURE IN INDIA

“The object in view of both my predecessors in office and by myself has been rather to bring out the reasoning powers of individual students, so that they may understand the inner meaning of the old forms and their original function and may develop and modernize and gradually produce an architecture, Indian in character, but at the same time as suited to present day India as the old styles were to their own times and environment.” Claude Batley-1940; Lang, Desai, Desai, 1997 (p.143). The article introduces teaching philosophy, content and method of Basic Design I and II for first year students of architecture at the Faculty of Architecture, Centre for Environmental Planning and Technology (CEPT) University, Ahmedabad, India. It is framed within the Indian perspective of architectural education from the British colonial times. Commencing with important academic literature and biases of the initial colonial period, it quickly traces architectural education in CEPT, the sixteenth school of post-independent India, set up in 1962, discussing the foundation year teaching imparted. The school was Modernist and avant-garde. The author introduced these two courses against the back drop of the Universalist Modernist credo of architecture and education. In the courses, the primary philosophy behind learning design emerges from heuristic method. The aim of the first course is seen as infusing interest in visual world, development of manual skills and dexterity through the dictum of ‘Look-feel-reason out-evaluate’ and ‘observe-record-interpret-synthesize transform express’. Due to the lack of architectural orientation in Indian schooling; the second course assumes vernacular architecture as a reasonable tool for a novice to understand the triangular relationship of society, architecture and physical context and its impact on design. The students are analytically exposed to the regional variety of architectures logically stemming from the geo-climatic forces, human and material resources and techniques that satisfy the socio cultural needs and desires of a given people. Research analysis, large scale model making, simulation, actual size mockups and such engage the students in make-believe world of architectural learning in this course.

Wirtualność jako rehabilitacja iluzji. Historia wirtualności: od iluzji do immersji

The communication scene of the twentieth century was dominated by new media. However, the use of new forms of communication was not restricted only to the sphere of communication; the new media also decomposed the world of artistic creation. With the explosion of simulating structures, terms such as virtuality, immersion, non-linearity, telepresence, interactivity, and hipertextuality entered the philosophical lexicon of aesthetics. The term 'virtuality', through its use in common speech, has additionally gained the quality of polysemy and thus ambiguity. The use of the term 'virtuality' in a philosophical context requires analysis both on an ontological level and on epistemological and aesthetic levels. The new media also raise many questions within the context of philosophical anthropology, as the systems of relations between man and machines have changed. Virtual structures have changed the concept of simulation and illusion and have also blurred the borders between the real and make-believe worlds.

Reasoning about make-believe and hypothetical suppositions: Towards a theory of belief-contravening reasoning

The present study explores how suppositions which conflict with accepted beliefs are represented and reasoned about. Two studies test the predictions regarding the nature and developmental changes in children's ability to represent and reason about hypothetical or make-believe suppositions which violate their everyday knowledge and beliefs. In Study 1, 46 4th- and 5th-graders were introduced to a hand puppet, Freddy, who made claims inconsistent with generally accepted beliefs (e.g., “all dogs meow”) because he was pretending (Make-Believe Condition) or believed them (Hypothetical Condition). Participants were asked to think like Freddy and judge whether a conclusion (“There's a dog; does it meow?”) follows logically from the claim. In Study 2, 40 kindergarten (6-year-olds), 3rd–4th grade (10-year-olds), and college students were asked to represent belief contravening make-believe (pretend in a make-believe world that dogs meow) and hypothetical (imagine what the real world would be like if dogs meow) premises, evaluate conclusions of the premises (Rover is a dog, does Rover meow?) and make judgments about the attributes (growl, wag tail, purr, and eat mice) of the entity (a meowing dog) they created. The prediction that it would be easier to represent and reason from belief-contravening suppositions in the Make-Believe than Hypothetical conditions was confirmed in each study, although the two forms of reasoning were directly correlated (Study 2). The results were discussed in terms of the similarities (compartmentalization and integration) and differences (reconciliation) of processes involved in fancifully (make-believe) or seriously (hypothetical) representing and reasoning about belief-contravening suppositions.

From Regulation to Censorship: Film and Political Culture in New York in the Early Twentieth Century

The struggle over censorship stood at the core of the relationship between the political culture of progressivism and early moving pictures. Called by contemporaries and historians alike a democratic art, the moving pictures invited audiences to participate in the new mass culture of the early twentieth-century. As some early film makers began to use the medium to tell stories, those sitting in small theaters in towns and cities across America saw before them a make-believe world that was nonetheless plausible commentary on the past, the present, and the future. What remained unresolved was how those who championed political reforms, ostensibly in the language of progressive and democratic politics, might harness the power of the medium in redefining American political and social life. How much power the moving pictures and its mass audience might assume energized men and women, particularly progressives in New York City, who sought a more democratic culture, politics, and social life. How much power the moving pictures and its mass audience might assume energized men and women, particularly progressives in New York City, who sought a more democratic culture, politics, and social life. They regarded the political potential of the moving pictures as essential to the empowerment of the masses in an age when social boundaries were in flux. At the same time, they tried and ultimately failed to extend to moving pictures the protection of the First Amendment. They did this because they believed in the political and artistic possibilities of the medium for a democratic culture. In creating a plan to elevate the moving pictures and their places of exhibition, they became locked in a confrontation with other reformers who feared the awesome power of the screen to hasten modernity and all that it implied.

The mental health service system: How we’ve created a make-believe world.

The mental health service system: How we’ve created a make-believe world.

Pretense: The form and function of make-believe play

This paper proposes that make-believe play expresses the young child's emerging capacity to engage in counterfactual or would-be thinking. Three important developments enable preschoolers to create joint make-believe worlds with others: the ability to (1) manage multiple roles as playwrights and actors, (2) invent novel plots, and (3) deliberately blur the boundary between reality and pretense. Given that joint make-believe play turns out to be such a complex representational activity, the question about its function raises itself more insistently than ever. Of the many social and cognitive functions that have been proposed, emotional mastery is the only one that could not equally be exercised in nonpretend contexts. There is evidence, however, that in nonclinical settings the well-adjusted, secure children are most able to benefit from the opportunity for emotional mastery offered by sociodramatic play, whereas less-well-adjusted, insecure children are not. This has important implications for the design of play interventions.

Situated fraternization: The eudaemonic sublimation of religion

The drabness and routineness of the ordinary outside world of the working and lower-middle classes contrasts sharply with the excite? ment, opportunities for expressiveness and possibilities for exotic experiences in a lounge, a live music bar. Closeted in the lounge the individual is separated from the mundane world and brought into a real world of make-believe wherein each may become what he or she wishes. The lounge is like a cocoon simultaneously enveloping the entire range of the individual's sensory, motor, tactile and auditory experiences. In particular it is the total musical ambiance that serves as a spectacular agency for evoking the spirit of an enchanted land. In addition, status enhancement is provided by extravagant tip? ping, valet parking, and association with lounge owners. The cardi? nal rule of etiquette of a lounge is the prevention of intrusions that might break the fantasy of lounge life, meaning no conflict, no disagreeableness, only lovingness, sweetness, happiness, person ableness. The lounge, abandoning the real, outside world, like a Salvationist religion called for a rejection of the world, serves as a sanctuary creating exalted moods and new personae. In the case of the lounge, it creates a milieu for working and lower-middle class, hard-working, ordinary people seeking ultimate if only temporary fulfillment in their own make-believe world. The actors in the lounge believe that their experience is credibly fulfilling, shared by others and unique in its heightened spiritual state.*

Lectures Scéviennes: L'emblème et les mots (review)

211 foxes and Harry Bailey alike, or pleased to taste the flavour of this make-believe world of the stars. There are excellent illustrations, but the publishers ought to have insisted on an index of personal names as well as the short, though handy, index of terms. As it is, first Progression through these pages is easy. Retrogression, in search of some particular amusing or illuminating comment or quotation, can be tiresome. Alison Hanham Department of History Massey University Marcel Tetel, Lectures Sceviennes: L'embleme et les mots, Paris, Klincksieck, 1983, pp. 173. The emblems contained in Maurice Serve's Delie, even while having the appearance of important divisional markers, have nevertheless eluded the sustained critical analysis that their position seems to warrant. Critics have invariably recognised the need for a consideration of them as an integral part of the total meaning of the sequence of 450 poems which comprise the canzoniere, but few have even begun to make this consideration a central issue of study: the most famous of all Sceve scholars, the late V.-L. Saulnier, recognised the potential areas of exploration that the emblems represent, but ultimately only skirted round the problem, and I.D. McFarlane, the definitive editor of the Delie, points out that the original Privilege made provision for the Delie to be published with or without the emblems, and asserts that it is difficult to give satisfactory answers to such questions as their significance, their placement and whether Sceve devised his own emblems. McFarlane concludes, "The connection between emblem and text is a fluctuating affair, and the series of pictures fit the text rather as a loose cover does a chair. They give the book a pleasant presentation of some of the thematic material, certainly, they also give an impression of external structure and they serve to 'air' the text. They are often highly relevant to specific dizains, and help to condition the reader's response in those cases, but they have a circumscribed role to play, and one must also admit that some of the finest dizains are totally independent of the emblem series". Marcel Tetel's book is more than anything a refutation of this view. It is a semiological study of the sequence in which, as the title suggests, the emblems and their accompanying mottoes are given full weight as progenitors of meaning, pattern and semantic complexity. Tetel sees the emblems acting "globally", providing a necessary sub-text to each neuvaine (each emblem except the final one, no. 50, introduces a set of nine dizains) which articulates the 212 spirit of that neuvaine and which then reverberates throughout the whole sequence, supporting and elaborating on the Delian themes of doubt, anguish, renewal, submission, the will, solitude, work. He stresses the organic unity of each neuvaine in which the emblem is a reductive source and synthesis of the semantic possibilities of the following nine dizains and the signpost towards further semantic richness within the sequence. Rather than leading to obscurity or hermetism, the complexity of the intra- and intertextuality (within the neuvaine and within the sequence) reveals Sceve's firm position within a continuing literary tradition and, more importantly, the extent of his invention, in the sixteenth-century sense outlined by Castor. Tetel's usual method is to begin with a particular emblem, to elaborate on the associative resonances of both the drawing and the motto within the neuvaine, drawing on literary, philosophical, mythological and political sources and on the punning and anagrammatical possibilities within particular words; he then draws a conclusion from this exploration both about the poet's methods and about his poetic concerns, and reinforces the conclusion by reference back to other emblems and their associated neuvaines. The emblems, then, are a means to an exciting and thorough reading of Sceve which stresses the well documented contraries in the Delie: Tetel's separate chapters deal with light in darkness, the bitterness of love, attraction and submission, and the necessity for solitude and therefore absence from the loved one in order to create. Jealousy is, in Tetel's words, une medaille a deux faces, for, without it, the impetus to write would be lacking; success in love would mean the...