Fear is primal. Instinctive. Unavoidable. And right now, there is something you fear - and you can feel it. Creeping up behind you. Lurking in the darkness that lives under your bed, or in your closet. A nameless dread. In Undercurrents: An Anthology of What Lies Beneath, 23 talented authors, including New York Times best sellers Kevin J. Anderson, Rebecca Moesta, and Jody Lynn Nye, have stood on the shores of their psyches and looked out over the ocean of possibility and wondered "What lies beneath?" The sea creatures and sea monsters that answered their calls range from a giant kraken that rules the deepest ocean to the smallest puffer fish that creates intricate works of underwater art. Creatures of classic mythology - mermaids, sirens, and sea serpents - swim alongside more unusual beasts: underwater cats and singing whirlpools. These stories dive deep into the fears many of us face, including loss, abandonment, death, and physical, mental, or emotional danger. When the fears we keep buried beneath the surface rise up and threaten to consume, we must make a choice: conquer or be conquered. The complete list of authors includes Lisa Mangum, Chris Barili, Kevin J. Anderson, Jody Lynn Nye, L. D. Colter, Mary Pletsch, Joy Dawn Johnson, Lauren A. Lang, Chris Mandeville, Terry Madden, Robert J. McCarter, Kristin Luna, Jessica Guernsey, Aubrey Pratt, Nancy D. Greene, C. H. Hung, Steve Pantazis, Melissa Koons, CJ Erick, Lee French, Gregory D. Little, and Rebecca Moesta. This anthology is the fourth volume produced by the alumni of the Superstars Writing Seminar."Introduction: Undercurrents, and What Lies Beneath" ©2018 Lisa Mangum; "Sea Wind" ©2018 WordFire, Inc. An earlier version of this story appeared in Threshold of Fantasy, Winter 1995; "The Kraken's Story" ©2018 Robert J. McCarter; "A Marsh Called Solitude" ©2018 Gregory D. Little Publishing, LLC; "The Sirens' Song" ©2018 Aubrey Pratt; "The S 1. Language: English. Narrator: Charles Kahlenberg, Carla Harkness. Audio sample: http://samples.audible.de/bk/acx0/139973/bk_acx0_139973_sample.mp3. Digital audiobook in aax.
Seminar paper from the year 2015 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Hamburg (Institut für Anglistik und Amerikanistik), language: English, abstract: One of Britain's most notorious plays of the 1990s, Sarah Kane's "Blasted" shocked the public and critics alike due to its graphic depiction of death and violence. Beneath this surface lies, however, a carefully thought out representation of trauma and its effects on the human soul. This paper explores the links between trauma theory and Kane's most famous work.
Seminar paper from the year 2004 in the subject Ethnology / Cultural Anthropology, grade: 1,3, Martin Luther University (Institut für Ethnologie), course: Indische Diaspora, language: English, abstract: 'Sikhs, Hindus and Muslims can share their love of Urdu and take part in the same musha'ira, ghazal and qawwali sessions, forgetting their differences for the space of the evening.' The great metapher ,space of an evening' can be completed with the image of a short-time covering umbrella. Both refer to the scope and limits of unification through cultural activity. The gaps between the cited groups emigrated like their guards from India, though they temporarily lost their meaning with the first small numbers. But later the gaps were reconstructed as reaction on the necessary subordination beneath the ber parts of bigger groups. Here they found new ground in stabilized circumstances and established connections to some kind of homeland. ghazal serves as marker of differences, because of its paradoxical existence on boundaries. It bridges gaps, it reverses them through shared emotions and shared interests, but it also opens new ones. The flexibility of the genre attracts most different audiences, but their understanding of the ,true' or the ,best' ghazal may bly diverge. The mystical interpretation respectively the poetic tradition just relate to the same essence of form, language and theme, for instance. Therefore there is a wide field open to share the same term without sharing the same content. To explore this field can give an idea of the range of differences in a specific cultural activity. Their divergence from differences in the environment may be an indication of some ,reversal power'. My utilization of ,culture' and ,cultural activity' has to be clarified. Both is meant in a narrow sense of art production and art reception. The performance of sound is naturally temporary, just as its possibility to maintain a group, that only exists for its reception. The implications of a art form give an idea of the implications of the reception. Therefore it reflects the conditions of the group, that shares a performance. At the same time dislocated performances of mechanical reproduction have other conditions of time than concerts and poetry assemblies. Consumers of cassettes, compact discs etc. are dislocated connected without necessarily direct contact. Consumers as audience in a room are necessarily in direct contact without the possibility of dislocation. ghazal exists successfully in both forms, it reflects the conditions of the diaspora of an art form and its recipients to a high degree. My considerations are limited on South Asians in North America. [...]
Seminar paper from the year 2012 in the subject Literature - Modern Literature, grade: hundred per cent (10 out of 10), Jadavpur University, course: 'utopian literature', optional course, MA English, Second Year, Fourth Semester, conducted by Rimi B. Chatterjee, language: English, abstract: Time has been conceptualized in various ways by the scientists, litterateurs and philosophers. But here, drawing on a 'utopian' narrative by a Russian author, Mukhopadhyay envisages an empathetic temporality that can create a mysterious compatibility between human time and natural time by ushering in a new temporal mode, a time of empathetically propelled togetherness. At the same time, the work also seeks to explore the ways in which we can modify our anthropocentric systems of thought by realigning ourselves with our planet that also opens us up towards new vistas of imagination.Beginning to invoke an empathetic temporality that changes autumn into spring, we can move towards an unimaginably wonderful future where Time is not conquered but befriended by human beings, and human beings can rediscover the loving Nature that may lie hidden beneath the 'ravages of time'.
Seminar paper from the year 2008 in the subject Economics / Business: Marketing, Corporate Communication, CRM, Market Research, printed single-sided, grade: gut, Nürtingen University, course: Preparatory Masterthesis, 14 entries in the bibliography, language: English, comment: Kritikpunkte: Es fehlt eine Definition des Consumer Good Marketing sowie die Einordnung in den Marketing Mix. , abstract: 'The mind is like an iceberg, it floats with one-seventh of its bulk above water' (Sigmund Freud, psychologist). According to Freud's quotation, the main part of the mind is beneath the water and is called the subconscious. That means people are sometimes in a certain mood, think and act automatically without knowing the reasons. Wants arise from the subconscious mind; and manipulating the customer's wants is exactly what marketing experts in department stores would like to achieve. So the question is, if there are possibilities to influence the client's shopping habits in order to maximise the profit. For a long time, specialists in department stores have only concentrated on the aware visual, gustatory and haptical sense and have neglected the acoustical and especially the olfactory one. The customer could look at the products, could try foods in the supermarkets at cheese or sausage counters and were allowed to touch the goods. A specific smell or a sound used to be considered to be less important in the consumer goods marketing. It is true that 83% of sensations are received by the eyes. However, the more senses are addressed, the more information can be processed (cp. Fösken, 2006, p. 31). Nowadays, the subliminal manipulation of the costumer gets more and more in the focus of the smart salesmen. Because of a strong competition on the saturated consumer good market, a holistic strategy is needed to distinguish the products from the competitors¿. An experience-driven marketing strategy, which activates all five senses, becomes the new trend. In this term paper, the focus is going to be on the use of scent and music in department stores and shops. I establish the hypothesis that the two stimuli have an unconscious, positive influence on the customer's mood. Furthermore, a good customer's mood will have positive influences on his expenditures. To verify these assumptions, several researches are going to be analysed. Biological and chemical processes in the human body are neglected by reasons of shortage of space in this assignment. Also the technical implementation is not treated. Part two of the term paper is going to be about the relation between the customer's mood and his affection to buy products in department stores. In the first two chapters of part three, scent and music are separately examined concerning their effects on the customer's affection to buy. The combination of scent and music is treated in the third chapter of part three. Part four of this term paper summarises the most important gained information. Moreover, it gives pragmatic recommendations and future perspectives for the consumer goods marketing
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Erfurt, 10 entries in the bibliography, language: English, abstract: '[By Reading Ovid's Metamorphoses, the Elizabethans could](...) dig beneath its layers of fiction in an effort to recover the most precious secrets of the ancient world, whether moral, philosophical, historical, or scientific.' It is beyond all doubt, that the great poetry of Ovid (43 BC - 17 AD) had a strong influence on William Shakespeare's work. Understandably enough, as Ovid's work is a classical masterpiece of Latin literature. It fascinates with its formal perfection, urban humour and Ovid's creative fantasy. His outstanding opus is of course the Metamorphoses, the magnificent epic poem containing about 250 transformation legends of Greek and Roman mythology. Ovid's interests in myths show also the heroides, which include fictitious love letters. Love - this is undoubtedly a central theme in Ovid's literature. His writings Amores, Ars amatoria and Remedia amoris display that. Although Ovid's literature was banished from public libraries by emperor Augustus after the poet's death, his posthumous fame could not be prevented - fortunately. Ovid's work had a great influence on medieval literature and during renaissance his mythological stories had been example for many novellas . The role of Ovid's greatest opus, the Metamorphoses in Shakespeare's work, especially in his comedy A Midsummer Night's Dream, is going to be discussed in this paper. At first the focus lies on Ovidian literature in Elizabethan times. Then, the parody of Pyramus and Thisbe in A Midsummer Night's Dream will be analysed. A special kind of metamorphosis - the one of Bottom brings up the third main emphasis. By the way - what is a metamorphosis? It is said to be a process in which somebody or something changes completely into something different - for example a caterpillar that becomes a beautiful butterfly...
Seminar paper from the year 2007 in the subject English - Literature, Works, grade: 1,7, Free University of Berlin (Fachbereich Englisch), course: Literary Concepts II: Intermediality , language: English, abstract: [...] In his seventh novel The Ground Beneath Her Feet (hereafter GF), Rushdie tells the love story of the 20th century pop icons Vina Aspara and Ormus Cama. However, GF is not exclusively about love since the novel also combines a lot of historical and mythological aspects with the mainstream pop culture of the 20th century. In fact, the field of pop music seems to be central next to the novel's love theme because throughout the whole book, extracts of original and remodelled song lyrics are incorporated into the texture of GF, and these song lyrics are - amongst many other things - used to reflect the love between the novel's protagonists. Furthermore, the subject of music is also realised by the adoption of another strategy. Although the novel is said to be fictional, GF 'tries to blur the edges between the fictional world and the real world' [Rushdie, interview with Vijaya Nagarajan 1999]. Therefore, Rushdie applied the technique of the alienation effect, which aims to make the familiar seem strange. This technique was predominantly realised by embedding mythological aspects in the story of GF and changing historical events which actually happened. Consequently, Rushdie created a 'parallel version of the world', which is slightly different from reality. The most influential aspect which makes the familiar life of the novel's pop stars seem strange is its comparison with the Orpheus myth. Moreover, the Orpheus myth dignifies music as it basically declares that 'one can kill the singer, but not the song.' Since the subject of music seems to be of crucial importance in GF, and Salman Rushdie regards pop music as the 'first cultural phenomenon of extraordinary force' [Rushdie, interview with Vijaya Naga
Seminar paper from the year 2005 in the subject American Studies - Literature, grade: 2,0, University of Nottingham (School of English Studies), course: Cognitive Poetics, 9 entries in the bibliography, language: English, abstract: And indeed, what is better than to sit by one's fireside in the evening with a book, while the wind beats against the window and the lamp is burning? ... One thinks of nothing ... the hours slip by. Motionless we traverse countries we fancy we see, and your thought, blending with the fiction, playing with the details, follows the outline of the adventures. It mingles with the characters, and it seems as if it were yourself palpitating beneath their costumes. (Madame Bovary, part II, chapter 2) This quotation elegantly sums up what reading literature should be like: most enjoyable. We find people reading on the train, at the bus stop, in bed, in the waiting room. And every reading is unique. That is why we usually can remember the circumstances under which we have read a book. And the mere fact that people can be carried away by the written word is fascinating - and worth further investigation. This essay is about reading, to be more precise about reading fiction. It is an attempt to explore how we read, or process, literature. We want to investigate how we comprehend fiction and how we monitor the tracking of characters and events in a story. Doing this, we will have to lay much emphasis on the reader as an individual being fully conscious of what and how he is reading. For this exploration, cognitive poetics with its relatively new way of thinking about literature will provide the necessary frameworks, one of which I will apply and discuss in more detail: Emmott's contextual frame theory. One question that I hope I will be able to answer in this paper is: How does fiction transport the reader into an imaginary universe? The approach to this question is not easy as I will have to draw on a number of interrelated disciplines such as linguistics, psychology and philosophy. The text I will 'exploit' for this end is Gustave Flaubert's masterpiece Madame Bovary (1857) which I have a particular relation to. So this essay will also be a very personal evaluation on literary reading. We will proceed as follows: First of all, we will explore the opening to Flaubert's text to analyse it on the basis of Emmott's contextual frame theory (inductive approach). Afterwards, we will apply selected key concepts of this theory to suitable passages of the novel (deductive approach). Then we will engage more fully with some theoretical assumptions of cognitive poetics. Afterwards we will elaborate on the concept of emotion.
Seminar paper from the year 2005 in the subject English Language and Literature Studies - Culture and Applied Geography, printed single-sided, grade: 1,7, Humboldt-University of Berlin (Institut für Anglistik), course: Concepts of Culture in the 19th Century, 17 entries in the bibliography, language: English, abstract: An attempt to define the term socialism in a possibly precise and short way, as well as excerpts from the biographical background of William Morris, who is considered to be one of the first British socialists, will serve as an introduction to this work's subject. Different writings, and especially an article contributed by Morris in 1885 which he named 'The Worker¿s Share of Art'1 will be the main reference before other, selected prospects, and ideas are taken into consideration. The introduction of socialism will only focus on those aspects that are necessary for further understanding and which re-emerge in the arguments and formulations of William Morris who only became a socialist in his mid fourties. Generally, socialism is 'an ideology with the core belief that a society should exist in which popular collectives control the means of power, and therefore the means of production.'2 One of the main objectives of socialism is a classless society, which can either be created by revolution, or social revolution. The problem of the extended, and more detailed description of socialism as a concrete model for a society is its history. Indeed, meanwhile socialism is often misunderstood and due to the fact that history has shown some misinterpretations of the term, namely the National Socialists in Germany for instance, it has become very difficult to point out what socialism really means today. According to that, the opportunity which lasts to characterize socialism anyway, is to look at it at a certain time, and to leave out its historical development in general, but only to include those changes and processes which are of great importance for the period in question. Furthermore, there are other useful criteria to divide socialism as for instance the distinction between 'Socialism from above', and 'Socialism from beneath' as Hal Draper presents in his work 'The Two Souls of Socialism'3 in which he also refers to Morris.