Private Reading Research Articles

Freud in exile: psychoanalysis and its vicissitudes

In June 1938 Sigmund Freud and his family arrived in London, exiles from Nazi-occupied Austria. Now, seventy years later, Freud's exile, together with the general exodus of psychoanalysts from the German-speaking world, can be seen as a turning-point in modern cultural history. The displacement of the centre of gravity of the psychoanalytic movement from Vienna to London (and thence - via English translations - to the United States and the wider world) helped make Freud's theories into one of the most influential intellectual systems of the twentieth century. This book, with contributions from some of the world's most eminent Freud scholars, marks the fiftieth anniversary of Freud's exile and discusses its impact on the development of psychoanalysis. The first section examines the specifically Viennese-Jewish origins of Freudian theory and the nature and effects of the psychoanalytic exodus. One chapter considers Freud's library and his private reading, a study facilitated by the Freud Museum in London. Section two considers the English reception of psychoanalysis. The role of Ernest Jones in transmitting Freud's ideas is examined, and there are chapters on Adrian Stokes, Wilhelm Stekel and the fate of Freudian analysts in exile, particularly in the United States. Closely linked to the cultural displacement of psychoanalysis is the issue of the translation of Freud's writing. Section three considers problems involved in such translation and retranslation - and the question of revising the Standard Edition of Freud. The final section identifies perspectives for the future which derive from the continuing psychoanalytic debate. It includes chapters on changing theories of childhood since Freud, Freud and the question of women and feminism, psychoanalysis and anthropology, and Freud's influence on other forms of psychotherapy. With full scholarly references, documents and illustrations from the Freud archives, many of them reproduced here, this volume demonstrates how Freud's exile (fulfilment of his wish 'to die in freedom') stimulated the growth of psychoanalysis in the English-speaking world. It provides an important reassessment of Freud's contribution to twentieth-century thought.

Contemporary English Translations of Scripture

AGENERATION has passed since English began to be used in the liturgy, and concomitantly the Douai-Rheims and CCD versions were supplanted in public and private reading of Scripture by up-to-date translations of the entire Bible, done under Catholic auspices. The experience of these 25 years seems ripe for assessment. The principles guiding the newer translations, and their strengths and weaknesses, by now have come into clear focus. This article will study the two versions that have become familiar to American Catholics, The New American Bible (NAB) and The Jerusalem Bible (JB); these are the translations most commonly heard at Mass and used for study. For some time, there seem to have been second thoughts about these versions, for each has undergone revision. Thus we have the 1985 New Jerusalem Bible (NJB) and the 1986 reworking of NAB called The New American Bible New Testament, Revised Edition (hereafter NAB RNT), which in fact is virtually a fresh translation of the NT. (The NAB OT remains unchanged, though the Psalter is being translated afresh for the revision of the lectionary due to appear in 1990 or 1991.) It will be useful to make some general comments about modern translation practice and illustrate them by reference to JB and NAB, and then to study more in detail the two newly released reworkings.

Trollope Reading Old Drama

T R O L L O P E R E A D I N G O L D D R A M A ELIZABETH R. EPPERLY Memorial University of Newfoundland I t is impossible to say how many plays Anthony Trollope attended or how much drama criticism he actually read, but we do know that between 1866 and 1882 Trollope read more than two hundred and forty Elizabethan and Jacobean plays (excluding Shakespeare) — often more than once — and that he made extensive notes in his own copies.1 These comments, written carefully in the margin and at the end of the plays in eighty-six volumes now owned by the Folger Shakespeare Library in Washington, D.C., pro­ vide fascinating reading for anyone interested in how a determinedly indi­ vidualistic, gifted Victorian novelist reacted to Elizabethan and Jacobean drama. Trollope’s persistence in reading so many plays over so long a period is remarkable, though thoroughly characteristic of the man who undertook other enormous literary projects such as a History of World Literature2 and a history of prose fiction3 and who kept such meticulous records of his progress both with his recreational reading4 and with his professional writ­ ing.5 His judgments on the plays were probably formed through a variety of ways — childhood drama games at Julians,6 his own theatre attendance,7 literary friendships at the Garrick and Athenaeum clubs, contemporary drama criticism in the press, his extensive library holdings on early drama criticism,8 his close relationship with George Henry Lewes (who even ad­ dressed his epistolary introduction to On Actors and the Art of Acting to Trollope)0— but we only know for certain that he said himself he read the plays out of “curiosity in searching their plots and examining their characters” 10 and that he prided himself on covering a great many of them before his death. He writes this in 1876: “ If I live a few years longer, I shall, I think, leave in my copies of these dramatists, down to the close of the time of James I, written criticisms on every play. No one who has not looked closely into it knows how many there are” (367). No matter what public or private avenues formed Trollope’s taste and judgments and no matter what use Trollope made of the plots and charac­ ters he found, readers of the drama criticism itself will find it pointed and E n g l is h S t u d ie s in C a n a d a , x iii, 3, September 1987 insightful as well as satisfyingly Trollopian. familiarly definite and bluff. The Trollope who emerges from the marginalia is wonderfully consistent with the robust novelist who strode through the woods swinging his cane as he laughed and cried over his characters.11 In his private reading, the char­ acters of the old drama were also alive for him, and his opinions about them and about their creators are expressed vigorously. Trollope rails against inadequate editorship or against lewdness; he praises subtleties of poetry and form; most of all, he scrutinizes plots and characters. But students of drama criticism as well as students of Trollope and his novels should find Trollope’s reactions to the chief Elizabethan and Jacobean dramatists valuable. There is much to be learned in analyzing the literary taste and moral judgment implicit in Trollope’s drama notes: he puts Shake­ speare in a class by himself (it is regrettable that Trollope’s own notes on Shakespeare have not yet surfaced) ; he faults playwrights who could not paint realistic or admirable women; he prefers the rough and ready plays of the Tudors to either the more skilled but obscene or artificial Elizabethans or the convoluted Jacobeans; he prizes the language of Massinger; he ad­ mires the ingenuity but despises the lewdness of Beaumont and Fletcher; he demands that plays show excellence in plot, character, language, and some­ thing he calls sympathy; he chooses a play about women, by a forgotten playwright, as the closest to one by Shakespeare that he finds; he battles with editors’ opinion or partiality. Trollope makes numerous comments on editors and editing throughout the play volumes...

A checklist system for critical review of medical literature

In order to teach critical review of medical literature, an approach was devised in a family practice residency setting for teaching students and doctors to review medical literature quickly while remaining critical of what is read. This is done through the use of a simple checklist which guides the user in reading an article. Such a checklist is readily modified to suit individual needs, is self-explanatory, and lends itself to use in journal club settings as well as in private reading.

Private Reading and Public Value or, Why Librarians Should Read

In the classic article series a paper from 1925 by Frank K. Walter on why reading is good for librarians is reprinted. An introduction by Marcia Pankake supplies biographical information about Walter and sets his argument into a context of earlier and later statements by librarians about the professional necessity for private reading.

On Presentation and Reception Guidelines in the German Strophic Epic of the Late Middle Ages

TU NTIL RECENT DECADES it was considered indisputable that medieval epic poetry in couplets was presented completely in spoken voice, either freely or read from a manuscript. (In addition to and in place of this one finds more and more private reading after the twelfth century.)' In recent years, however, it has been asserted that this form of literature, especially the courtly novel, was, as other medieval genres, recited in a singing voice. Particularly Ewald Jammers has expressed this viewpoint in various writings,2 and has found some support.3 If one attempts to verify the tenability of this viewpoint in the texts themselves, one fails to find any direct indication that they should be sung in presentation. It is well known that many authors of the Middle Ages took conscious measures to define the form of communication of their texts to the audience.

In Memoriam: Alan Rowland Chisholm

Preface (2014) by Wallace KirsopStan Scott (1927-2014) died just before he could be asked to write a brief preface to his AJFS obituary of A. R. Chisholm. It therefore falls to the commissioning editor of that tribute to provide a context for a remarkably sensitive and perceptive portrait of a man who was the most influential university teacher of French literature in twentieth-century Australia. That the readers of the present number lose by this substitution goes without saying.Scott himself was one of the most diversely talented pupils of the master, as those who attended the funeral on 22 January 2014 learnt from the speeches made by neighbours, family members, colleagues and friends. It is to be hoped that these threads can be drawn together in print for the benefit of younger colleagues at risk of neglecting the achievements of a scholar whom the University of Melbourne culpably declined to promote beyond the rank of Senior Lecturer.Unlike Gardner Davies, Lloyd Austin and James Lawler, Stan Scott remained faithful to his native Melbourne, limiting his European visits to the period of his doctoral studies in the 1950s and to sabbatical leaves, before his premature retirement in 1984 gave him the opportunity for one last long sojourn in France and Italy. For this reason he remained closer to Chisholm, to whose Department of French he had been recruited in 1956. Intime he became not only his teacher's confidant, but also his literary executor. It was a task he took very seriously, preparing both a biography of Chisholm, which Melbourne University Press took so long to consider that he withdrew the manuscript, and an edition of the verse, which the Press refused. After these frustrations Scott did not persist, although some of us had the benefit of a private reading of the life. It is comforting to report that late in 2013 he agreed to allow the biography to be made available online through the Institute for the Study of French-Australian Relations. Much remains to be done to bring everything of Chisholm's that Stan Scott preserved and gathered to readers who deserve to have laid out for them the complexities and ambitions of Australian literary and intellectual life in the twentieth century.When AJFS celebrated Chisholm's eightieth birthday - a little late - in 1969, it was Scott, along with Lloyd Austin, who gave advice on the choice of contributors. Stan's own article was on Dante, one of the main objects of his research and reading over many years. Like Chisholm he ranged widely and well outside the boundaries set by his professional appointment. Also like Chisholm, he had the art of writing with elegance and concision, qualities that stood him in good stead for the entry he provided on his teacher for the Australian Dictionary of Biography in 2007. ADB's straitjacket can be uncomfortable, but Stan Scott was equal to the task of saying the essential and suggesting hidden depths in a strictly limited number of words. It was more than appropriate that one intellectually curious and quite adventurous conservative should record the career of another from an earlier generation. Historians and the general public wedded to cliches about radical academics need to learn that challenges and innovation do not reside exclusively on the Left.Alan Rowland Chisholm, Emeritus Professor of French in the University of Melbourne, died of heart failure, at the age of ninety-two, on 9 September 1981. He is mourned by his daughter Mimi, some relatives in New South Wales and countless students, colleagues and friends throughout the world.It is not easy to sum up a man of so many capacities - poet, essayist, thinker, scholar, critic, linguist, soldier, teacher - and, for all our devotion and partiality, we can hardly avoid circumscribing so ample a mind and sensibility. Besides, no individual, least of all a great one, can be known completely: not all the primary sources can ever suffice.For an eventual life and first assessment of Chisholm we have some essential personal documents (birth and marriage certificates, degrees, awards, passports and the like), diaries including a most informative war diary, travel notes and valuable lists of books read at various periods of his life. …

ΑΝΑΓΙΓΝΩΣΚΩ And Some Cognate Words

Presumably it is common ground that this verb has in addition to the basic sense ‘recognize’ the derivative sense ‘oread’, and that one must judge from the context whether reading to one or more other people, or private reading, is meant. The reading of the text of a law to a jury at an orator's request is marked by the circumstances themselves as public reading; so is the reading of the Athenian decree to the Mitylenaeans in Thucydides. When Theaetetus answers in the affirmative the question whether he has read the book of Protagoras which contains the statement that man is the measure of all things (); or when it is asked ‘Why is it that some people, if they begin to read, are overcome by sleep even against their will, whereas others wishing to be overcome by sleep are kept awake by taking up a book?’ Evidently what is intended is reading in the privacy of one's own room. When Socrates in the Phaedo says that he heard a person reading from Anaxagoras and eagerly took the book home to read (97 B-98 B), both senses are found within a few pages.

Private Book Clubs or Reading Societies

Private Book Clubs or Reading Societies

Herodas and the Kitchen Sink

‘Le mieux est l'ennemi du bien.’ Voltaire's epigramfits Greek literature like a glove. In school and university syllabuses, just as in our own private reading, we concentrate on the best authors; and a large number of the merely good authors stay on the library shelves, neglected and unread except by a steadily decreasing number of experts in forgotten fields. How many of us are on terms of easy familiarity with the bittersweet epigrams of Asclepiades, or that remarkably modern opening of Heliodorus' novel, or (for that matter) with the mimianiboi of Herodas?Herodas was the major Hellenistic author of mimes. His work was singled out by the younger Pliny (Ep. iv. 3. 4) as the standard by which to assess contemporary poetasters in the field. Yet before 1889 he was no more than a name, to whom a few dull fragments could be assigned. In fact before 1889 the whole genre of Hellenistic mime, literary and non-literary alike, was a dark mystery, doubtless consigned to oblivion during the ages of Byzantine antischolasticism. To the immense popularity of mimes in late antiquity countless references in contemporary sources bear a distinctly scandalized witness. Some descriptions survived, a few definitions, many condemnations, but no texts.

Wayang and Ludruk: Polarities in Java

In contemporary Western society, theatre has become primarily a source of entertainment and sometimes of social criticism; its older function of articulating and instilling prevailing values is now performed by the mass media and specialized educational and propaganda institutions. In Indonesia, however, and elsewhere in Asia where mass media and educational facilities are less developed and private reading is not a widely established habit, popular drama still transmits sociopolitical ideals between the court (or city) and the countryside, and reinforces religious tradition. While some of its communicative role is now shared with movies and other new media, live theatre is still a vital and popular teacher.In Java the Wayang Kulit, or shadow-puppet theatre, epitomizes the traditional Javanese world view; it has functioned as an art form, a religious rite, and a medium of instruction for more than a thousand years.

Oral Delivery or Private Reading? A Contribution to the Debate on the Dissemination of Medieval Literature

Oral Delivery or Private Reading? A Contribution to the Debate on the Dissemination of Medieval Literature

To say dezires and to hear dezires: from Textual Performance to Interpretative Writing in 15th Century cancionero Poetry”/“Oír dezires y decir dezires” del performance textual a la escritura reflexiva en la poesía cancioneril cuatrocentista

Este artículo propone un acercamiento analítico novedoso al género cancioneril de los dezires a los que la crítica tradicional atribuye de modo meta-poético, una efectuación por medio de la lectura en voz alta o la recitación en lugar de ser cantado. El dezir constituye un texto escrito principalmente por y para los letrados (un grupo elitista de intelectuales) y cuyo modo de efectuación principal era la lectura privada, y, en un grado menor, la recitación o la dramatización en público en certámenes de poesía u otras prácticas de diversión que ritmaban la vida de los cortesanos. Su carácter escrito hace de los dezires unos textos “discontinuos” en la terminología de Zumthor. En el presente texto, y por medio de un análisis metarreferencial, hemos coincidido con el autor en los puntos que expone sobre el contraste entre la escritura y la oralidad: 1) la efectuación por medio de la lectura o la recitación; 2) la “cristalización” del texto literario por medio de la escritura versus la “movilidad” de la literatura oral –al reseñar las imágenes metarreferenciales de ambas como el agua, la piedra, el papel, etc.

Il Libro come Maestro: Sufismo e Storia della Lettura nel Medioevo Islamico

Between the end of the 8th/14th century and the beginning of the 9th/15th, the literate elites in Yemen and al-Andalus publicly debated the legitimacy and the educational function of Sufi books. In Yemen, where Ibn ʿArabī’s ‘school’ thrived, some jurists urged the ban of his books, while ʿAbd al-Karīm al-Jīlī and his associates extolled their educational virtue for Sufi novices. In al-Andalus, the debate focused on whether books could take the place of the master in Sufi education, an issue whose relevance was felt well beyond Sufi circles, prompting Ibn Ḫaldūn to join the discussion. These controversies, even though they were connected to specific local contexts, are significant in a general way because they offer evidence for the spread of private reading among Sufis in the later Middle Ages. To appreciate the historical importance of this, one should ask how far it is new and whether it is limited to Sufism. These two questions are addressed inthe first two parts of this article. The first part outlines key changes relating to Sufi literary output in the 12th and 13th centuries. In particular, it examines the tension between orality and writing within Sufism, and the ways in which the written transmission of mystical knowledge was controlled or repressed. The second part draws attention to shared paradigms of both esoteric and exoteric knowledge as the connection between private reading and innovation, and the preservation of oral symbolism in written transmission. Finally, the third part re-examines the 14th and 15th-century debates from the angle of the history of reading in medieval Sufism. The arguments exchanged in these debates bear witnesses to changes in reading practice linked to the shifting relationships between authority and knowledge in Islamic cultural history.

Change and Revaluation in The Bible

It was often said of good Pope John that in summoning the Council he unleashed stronger forces than he had bargained for; there were suggestions that at the end he felt these forces to be beyond his control and overpowering him. There is sometimes a naive enthusiasm in those who are most eager for renewal which blinds them to the problems raised by this renewal. One sphere in which the problems are acute and puzzling is that of the biblical renewal. The problems centre round the paradox which is overstated by the often-heard cry: ‘How is it that we are encouraged to read the Bible more and more, while at the same time we are told that less and less of it is true?’ The paradox is overstated in this form, for what we are told is not that less and less of the Bible is true, but that less and less of it is to be taken at its face value, that less and less of it can be understood without considerable training, that not all of it is of equal importance, some passages or even whole books being of very peripheral value for the Christian life, while others teach some idea which is crucial amid a waste of folklore or rabbinic legalism. The dilemma is at its most puzzling at two moments, readings in the Mass and private reading of the scriptures.It is commonplace that the world of the Old Testament was very different from ours, that their forms of expression are very different from the ones we use today.

Team teaching in further education — 3

A common complaint of technical college teachers is that students are spoon‐fed with information and they finally appear incapable of exercizing their initiative and imagination in the solving of problems associated with the subjects taught to them. Ask the same teachers, however, why they do not abandon the formal lesson schedule and simply guide the students in their private reading and they will undoubtedly include among their reasons not only the pressure of the examination syllabus but the probable inability of the students to study privately. Somehow this vicious circle has to be broken. To the technical college teacher, teaching by private study when associated with part‐time day‐release students is an act of faith. It requires motivation, ability, and a teacher‐student relationship that is difficult to reconcile with the existing organization. (It also requires a library and reading‐room facilities!) It is within the concept of team‐teaching, however, that the necessary confidence in individual study may be achieved.

Leonard Frank Spath, 1882-1957

Leonard Frank Spath was born on 20 October 1882. The writer has been unable to obtain any reliable information regarding his parentage, place of birth (which there are reasons to think was overseas), and school education. A statement published elsewhere, from hearsay, that he came from South Africa has not been confirmed. It seems not to have occurred to Spath that such information would interest posterity, and he deposited no personal record with the Royal Society; nor, apparently, did he ever speak of his earlier years to friends or even in his own family circle. It is probable that he lost both parents while young. At about the time when he first became known to members of the staff of the British Museum (Natural History) Spath occupied a studio in Chelsea, and visitors formed the impression that he was professionally engaged in some form of commercial art and had been well trained for it. A desire to study geology, he later told others, had been fostered by a keenness for mountaineering when a young man; and so he decided to become qualified for a geological career. He seems to have pursued his studies largely by private reading, but registered at Birkbeck College, London, for the Intermediate B.Sc. course in Geology for the 1908-1909 session, and attended evening classes at that institution intermittently for the next year or two. He took his B.Sc. degree in December, 1912, gaining First Class Honours in Geology. For examination purposes he specialized in the petrological side of the subject, although already more interested in fossils than in rocks.

THE INTERESTS OF CHILDREN (AGED 10–11) IN BOOKS

Summary. An investigation was undertaken in March, 1955, into the interests in books (excluding textbooks) of children aged 10–11. Children were asked to rate the books they had read at home or in school during the last mouth. From their replies it wits found that in school it was usually a little more enjoyable to listen to the teacher reading aloud than to read silently, and more enjoyable to read silently than to listen to other pupils reading, though this did not apply equally to all social areas. It was noted that a larger amount of time was spent on silent reading in schools in poor neighbourhoods than elsewhere. A classification of books read aloud by the teacher showed that teachers generally followed the established patterns of the accepted children's classics and of popular current children's stories. It was found that for 95 per writ. of the children, the home provided the best environment for the private reading of books, there being less distraction and interruption than in school. Perhaps as a corollary, it was found that children more frequently gave high ratings to books read at home than to those read in school. On the other hand, a few children stated that they had read no book at home during the last month, and for boys in poor social areas there was, on average, less reading of books at home than at school.More than half of the children mere active members of n public library, except in schools serving housing estates where the proportion was about 1 in 4. Some children had ceased to be active members, bring dissatisfied with the library service for various reasons. Reading preferences based on stated likings for classes of books showed that there were more differences between boys and girls than between groups of children from dissimilar social areas, particularly in their attitudes to school stories, to, some classes of non‐fiction and to poetry.There was general agreement on the technique followed by children in choosing a book. It showed that children generally preferred to make their own selection, but required time to judge of the contents of a book before doing so. There was a widespread feeling that illustrations tended to spoil the story.In view of the complex pattern of children's individual likes and dislikes, it would appear necessary to give children of this age the widest possible choice from a variety of children's classics, adult classics, contemporary children's fiction, reference books, non‐fiction including biography, and children's annuals. Films, television and radio have a guiding influence over children's reading by stimulating many of them to read the book after they have seen or heard the dramatised version, and most of the reading reported in this survey was of children's classics. Films gave the greatest stimulus to boys' reading and television to girls.' On the data here available, it is not possible to say whether children spent less time on reading because of the advent of television into the home, but there is evidence to show that where there was a television set in a house the tendency was for children to spend more time in viewing than in reading.

Shakespeare in Providence

HIS is not a bibliographical paper. It will not deal with the collection of Shakespeariana purchased in England for the Brown University Library in i845, of which I hope to write later; nor with Mr. Marsden J. Perry's library, the nucleus of which was the Halliwell-Phillipps collection, and much of which is now in the Folger. I am concerned with the public and private reading and production of the plays, telling mainly the story of the last sixty years, with most of which I had some personal contact. There is a Shakespearian side, however, to the history of the first century of the drama in Providence, and I can add a little to what has already been made known.' The drama came to Providence in 1762, when David Douglass, who had brought his company to Newport from Williamsburg, Virginia, gave some of his moral dialogues or dissertations at his Histrionic Academy, a probably makeshift theatre, on Meeting Street, east of where about i769 John Carter erected his printing house, the Shakespeare's Head. No playbills from this visit have survived, but the Newport Mercury of August io contains the notice reproduced on this page. There are no other notices of plays or concerts in the Mercury. The Providence series here announced would have run through August 20. It is not improbable that some Shakespeare was in

The Caroline Audience

DR I. A. RICHARDS, examining the nature of 'meaning', has drawn attention to the importance of 'tone', i.e. the relationship between writer and reader which is suggested through the writer's manner of utterance.1 Certainly one of the most difficult barriers to negotiate is that set up by a wrong tone in something we hear or read. When the writer has us in view as among his potential audience, he is to be blamed for the erection of the barrier: he should find a way of reaching us if he knows he has something to tell us. But a writer of the past or of another nation than our own is not usually addressing us: his public is very different in its attitudes, conventions, acceptances, and it is to them that his tone must primarily be adapted. Consequently, in our judgment of past literature, we have always to consider the public addressed: we may then see why the tone of a literary work is not the one we most delight in, and may be prepared to recognize that this tone was apt in its context. (We may still reject the work for another reason, but at least we shall be saved from condemning an eavesdropped conversation because its language is not our own.) This matter of tone becomes particularly important in dramatic studies. We cannot enter a theatre without to some extent, partaking of a group-consciousness, which will make our demands on, and expectations from, the dramatist more rigid than are our isolated demands and expectations in private reading. But theatrical expectations vary greatly from one age to another, from one kind of theatre to another. Athens in the age of Pericles and London in the reign of Charles II produced theatres which were about as far apart as theatres can be, and the expectations of the two audiences consequently differed. A dramatist cannot work without some consideration, even if scornful, of his audience, and his 'tone' will arise from his attitude to their expectations. In trying to reach a correct understanding, therefore, of the drama of any period, we must try first to appreciate the character of its audience: only by knowing that so well that we can discount it shall we be able to follow the playwright's meaning unchecked by oddity of tone. In using 'tone' in this way, we must think not of mere turns of phrase in a dramatist's speech, but of the whole design, temper, embellishments of his work. These, quite as much as the individual words and sentences, are affected by the relations of writer and audience. The chorus, the 1 Practical Criticism, 2nd ed., 1930, pp. 182, 206-9.