Academic literature on the topic 'Separate peace (Knowles, John)'

Shannon E. Coulter and Susan L. Groenke recognize that student differences in interests, learning styles, and readiness for certain knowledge necessitate individualized processes for effectively learning vocabulary. They offer strategies and word games that help students make meaningful connections and improve comprehension. They also give advice on what to consider when undertaking differentiated instruction for the first time.

In this comment, I reply to two objections John Tate raises against my discussion of the trajectory of Locke's ideas on toleration (in an earlier article published in EJPT, ‘Locke’s Tracts and the Anarchy of the Religious Conscience’) Tate maintains that I misunderstand the role of natural law and civil peace in Locke's thought. I defend my interpretation of the role of natural law and show that Tate is mistaken in his claim that Locke's concern to preserve civil peace conflicted with his separate concern to protect individual rights.

The article examines the correspondence of the Hanoverian resident in Russia Friedrich Christian Weber over the period from January 1718 to the spring of 1720. The set of letters includes over two hundred reports written by the diplomate in French and currently deposited in the French Manuscripts collection of the Bodleian Library of the University of Oxford. The goal of this article is to present this source to the scholarly audience and to offer its preliminary analysis. Although Weber was formally a Hanoverian resident, he represented the interests of England, because the Elector of Hanover, since 1714, was also the monarch of Great Britain. The addressee of Weber’s letters was John Robethon, George I's diplomatic secretary. The article examines various aspects of Weber's diplomatic activities, including the methods he used to collect information in Russia and send it to England, such as bribing Russian officials, resorting to secret agents, ciphers, sending dispatches “under the cover, and others. The letters also reflect the tasks set before him by his government, first of all, investigating the nature of relations between the Russian court and the Jacobites and monitoring the progress of the Congress of Åland, including the views of the Russian and Swedish courts regarding the prospects of a separate peace treaty between them. The article also considers Weber’s approach to the analysis of the international situation and the political situation in Russia. He concluded that a separate treaty between Russia and Sweden was highly unlikely and sought to convey this to his addressee. In spite of this the British government continued to view the ongoing negotiations at Åland as a threat. Beginning in May 1718, the Court of St. James repeatedly instructed Weber to find ways to disrupt Congress. The set of letters shed light on the history of Russian foreign policy at the final stage of the Great Northern War on the eve of the conclusion of the Peace of Nystad.

The increase in international tensions and the threat of global selfdestruction has determined the appearance of new interdisciplinary sciences aimed to investigate ways of contradictions resolving and raising the peace process’s effectiveness. Since the Second World War, issues of peace have become the object of study for several disciplines: polemology, eirenology, conflict resolution, and peace studies. They coexisted and rivalled in questions of methods and ways of cognition and achievement of peace. From 1960 to 1980, peace studies had been taking the first place. It had broadened and deepened the object and methods of peace research and been transformed into a separate interdisciplinary scientific field for studying and analyzing the preconditions for forging a lasting peace. Peace studies has combined conflict studies, development studies, philosophical-ethical reflections, historical context, and the international relations theory. Within peace research, two main schools have coalesced. The American traditional school (J. Burton) went in for peace keeping through predominantly analyzing international relations, arms control, disarmament, balance of power, and methods to establish peace „from the top”. The Scandinavian critical school (J. Galtung, B. V. A. Rolling, K. Boulding), based on updated social doctrine of the catholic church (the encyclicals of Pope John XXIII and Pope Paul VI), studied the underlying basis of conflict, having developed the theory of positive peace as a state of absence of not only direct but also of structural violence. Since the beginning of the 21st century, over 300 academic institutions and universities have been engaged in peace studies. Current peace research focuses on problems of global climate change, terrorism, sustainable development, failed states, and violation of human rights. At the same time, unsteady terminology is a significant problem of peace studies. R. Seidelman spoke about peace studies as a discipline in its infant stage. Evidently, a hybrid type of warfare, novel compound risks and threats to international security will promote the appearance of new directions of peace research. Key words: war, conflict, peace studies, peace research, peace process, conflict resolution, polemology.

Coelho’s Hippie is based on the time in which Coelho is living the way of a hippie. Spiritual seekers make their way to India and even Nepal in the sixties in search of enlightenment. In the 1960s, the groups of unconventional appearance are associated with a subculture and reject conventional values. The paper tries to meet its objective by explaining how the protagonist cultivates his journey and achieves the spiritual awakening in the end of his journey. This paper explores issues of Quest of Spiritual Knowledge in Paulo Coelho’s Hippie through the lens of popular culture because in the today's world the text is connected to its cultural archetype. It interprets the issue of the hero quest and spiritual education in Coelho’s text and then its connection with popular culture. Coelho’s Hippie relates to how Paulo as well as the other young boys and girls challenge western and non-western concept of culture, and they leave their homes to experiment the world on their own. These youths appear to create and organize the hippie culture, live in separate commune and travel far and wide in quest of peace, freedom and love as protest. To interpret the text, I apply the readings and concepts of Joseph Campbell, John Storey, Ray Brown and Marshall Fishwick as a theoretical framework. The paper argues that although the hippie culture progresses as the counterculture of the 1960s youth movement, the protagonist’s quest of spiritual awakening is an issue of the study.

ABSTRACTWith the help of a classical motif in American literature, Knowles has written in A Separate Peace a powerful story about humannature whose main characters are some youths moving into the adult world. Innocence and a natural existence are incompatible withsociety that rewards those who are best adapted to its demands.RESUMENSirviendose de un motivo clásico en la literatura norteamericana, el de la inocencia corrompida por las necesidades de la civilización, Knowles crea en A Separate Peace una poderosa historia sobre la naturaleza humana protagonizada por unos adolescentes que están a punto de pasar al mundo de los adultos. La imposibilidad de la inocencia y con ella una existencia ideal resultan incompatibles con las demandas sociales y con una concepción de la vida como un conflicto en el que prevalece el mejor resultado

With the growth in popularity of young adult (YA) literature over the past few decades, novels such as John Knowles’s 1959 classic A Separate Peace deserve to be analyzed for typical YA themes, such as sexuality, identity, dysfunctional family units, and coming of age motifs. This paper evaluates A Separate Peace from a queer theory perspective while analyzing symbolic elements and themes. By examining these YA themes, teachers can offer fresh perspectives while teaching classic novels that have withstood the test of time.

Orientalists’ researches on the history of the Qur’an were based on claims that it was written in separate periods, the multiplicity of its authors, and the influence of Jewish and Christian beliefs and legislation on its development. Because the short and naive Meccan suras were completely excluded from the circle of their studies on the history and development of Prophet characteristics, as a crude primary product, sūraẗ al-ḍuḥa became a fertile ground for Orientalists’ interpretations that do not pay attention to traditional commentaries or occasions for revelation (āsbāb al-nuzūl). Although sūraẗ al-ḍuḥa refers to the unidentified person using the pronoun of the addressee, the orientalist translators of the Qur’an - such as Rodwell, Richard Bell, and Arthur Arberry – were compelled to link this pronoun to the Prophet peace be upon Him, based on classical exegesis. inadvertently uniting their peers interested in the development of the Messenger and the message, who ruled out that the pronoun belongs to the Messenger. From this hidden confrontation, contradictions arose about the adoption of the causes of revelation by some orientalists concerned with history, such as David Samuel Margolioth, Montgomery Watt, and other authors of controversial philosophical theories on the historicity of the Qur’an, such as John Edward Wansbrough, the author of the theory of historical crystallisation of the Qur’an. This paper is concerned with explaining the dependence of the reasons for the revelation by some orientalists, after which they considered it a natural entrance to the interpretation of the verses, the difference between the interpreters themselves about the reason for the approved revelation, and the interpretation of Surat Al-Duha between the interpreters of the Qur’an and the orientalists, and the approaches they adopted in interpretation. The approach adopted in this paper is the descriptive and analytical approach by going back to the Orientalist sources and books of interpretation to reach a clear presentation of the Orientalist vision criticize it scientifically and uncover the fallacies and contradictions that surrounded their viewpoints.

As the science fictional years come upon us -- 1999, 2000, 2001 -- there is a sense that this is the future, and nothing much has changed. Indeed, the future has turned out to be pretty much like the past, but with Tamagotchis and Karaoke. Beyond Darko Suvin's adoption of the term "novum" and the souls sold to the demons of postmodernism, the criticism of science fiction remains more or less the same as it did thirty years ago, except that it is now often written by people who have only read Neuromancer. It is high time that this critical apparatus was shaken up. The various techniques and devices in the arsenal of the contemporary science-fiction writer need to be explored anew. In The Encyclopedia of Fantasy, Clute and Grant introduced a series of terms, such as "polder" and "instauration", which they made use of in their analyses of the fantastic mode1. It is hoped that the terms I introduce gain similar currency. In the limited space I have available, I can only explore the terminology of plot. The key to the popular fictional genres, both visual and literary, is that they are defined by a certain sense of familiarity with the material, a familiar engendered by repetition with difference. Even within this overall scheme of generic recognition, there is a stage further when a plot is borrowed entire from another work. It is clearly easy for a writer to borrow a plot from someone else, as it is known that it already works, has already pleased readers and rations out the degree of originality in a genre which depends upon originality. For example, Dan Simmons's Hyperion has a series of characters telling each other stories to pass the time on a journey: obviously this is Geoffrey Chaucer's The Canterbury Tales. But in addition to that it is a gathering together of disparate characters, who are going to go and visit this wonderful, strange being, to ask for their deepest desires. As I read this, I began to wonder whether one of them wanted a brain and one of them wanted a heart and one of them wanted courage and one of them wanted to go back to Kansas. This is of course the structure of The Wizard of Oz. Hyperion is thus Canterbury Tales meets Wizard of Oz sung to the tune of Keats, and is therefore hailed as being startlingly original. At the end of Hyperion, as the characters go off to see the Wizard, one character bursts into song: 'What's that song you're singing to Rachel?' The scholar forced a grin and scratched his short beard. 'It's from an ancient flat film...' 'But who is the wizard?' asked Colonel Kassad... 'And what is Oz?' asked Lamia. 'And just who is off to see this wizard?' (Hyperion 500-1) In order to avoid charges of plagiarism, Simmons reveals his sources, or, to be more charitable, acknowledges the intertextual borrowing which he has been engaged in. Another plot which gets used again and again is in cyberpunk, where the non-spatial realm of cyberspace stands in for the realm of the dead, the Underworld, and an analogue for Orpheus is sent to rescue a version of Eurydice: a female is kidnapped by a god of the Underworld, and a male hero has to rescue her, only to be trapped behind himself. This is the plot which underlies Vurt, Snow Crash, and one of the less obvious cyberpunk classics, Mythago Wood. The titular wood is a realm whose interior dimensions do not match the exterior's, rather like cyberspace. The main character's entry into the wood to rescue his brother and mother / sister-in-law / lover strikes a suitable note of incest, and the beings encountered there are mythic archetypes. As Pollen was to make clear, the Underworld is the realm of the collective unconscious, the realm of Story, Myth and Archetype2. The great trilogy of the 1990s, Kim Stanley Robinson's Mars Trilogy, borrows the structure of The Lord of the Rings. In Fellowship of the Ring a group of disparate characters come together and set off on a mission, there's a great calamity following a betrayal and they are all scattered. In the next volume, The Two Towers, the scattered characters wander around aimlessly, not really achieving anything, and there's a couple of battles or revolutions. Finally in The Return of the King there are last climatic battles, councils of peace, characters die of old age and there's a sense of loss, that the world has been changed, but for the next generation. Compare this to the structure of Robinson's epic: in Red Mars a group of disparate characters (the First Hundred) come together and set off on a mission to Mars, there's a great calamity following a betrayal and they are all scattered. In Green Mars the scattered characters wander around aimlessly, not really achieving anything, and there's a couple of battles or revolutions. Blue Mars depicts a final climatic battle, councils of peace, characters die of old age -- as does the reader -- and there's a sense of loss, that the world has been changed, but for the next generation. (Curiously Kim Stanley Robinson next work, Antarctica, was a reworking of Blue Mars, but without the Mars, a feature it also shares with Lord of the Rings.) Repetition in narratives happens with entire works, but also within narratives. These are known as Cookie Dough Plots. Home-made cookies are made by using cutters which produce the same shape again and again from dough. In the same way, narratives can be constructed from a series of broadly similar events which are repeated ad infinitum. A recent example of this is Dan Simmons's Endymion (1996), where the entire plot is organised around the two poles of: 'We're being chased' and 'Phew, we've escaped'. This fills up over four hundred pages. The Ping Pong Plot is one where two plotlines interconnect and are told alternatively: two sets of characters are involved in two separate storylines, where the action is occurring simultaneously and the author cuts between the two. William Gibson does this a lot in his fiction, with increasing numbers of character sets. Strangely enough, great science fiction of twenty or thirty years ago was around two hundred pages in length, and great science fiction of today is around the four hundred page mark. It's twice the size of an old novel. Most of these novels use the Ping Pong Plot, with events alternating between two sets of characters who usually, but not always, meet up by page four hundred. They might as well be in separate novels. In fact what we appear to have in today's great science fiction, is two novels. As no-one would pay $50 for a two hundred page novel, they get two for the price of one, shuffled in accordance to the rules of Ping Pong. In Jovah's Angel, by Sharon Shinn, there are two sets of characters: the first plot is an angel looking for her mortal beloved soul mate or perfect man and the second is a man wandering around. And reading it, the reader thinks, 'Ooh, I wonder who her perfect man is going to be? Ooh, there's another 390 pages to find out.' The novel is an example of the Ping Pong Cookie Dough Plot variant, where the chase-escape-chase format is enlivened by switching -- Ping-Ponging -- between the chaser and the chased. In Jovah's Angel, by Sharon Shinn, there are two sets of characters: the first plot is an angel looking for her mortal beloved soul mate or perfect man and the second is a man wandering around. And reading it, the reader thinks, 'Ooh, I wonder who her perfect man is going to be? Ooh, there's another 390 pages to find out.' The novel is an example of the Ping Pong Cookie Dough Plot variant, where the chase-escape-chase format is enlivened by switching -- Ping-Ponging -- between the chaser and the chased. Perhaps the most significant example of this Timeslip Ping Pong in recent years is Mary Doria Russell's The Sparrow (1996), where the action alternates between the account of the preparation for the voyage and the voyage itself and the account of the aftermath of the voyage. There's the before of events and the after of events, moving towards the discovery of the dark secret at the heart of the tale. It doesn't quite keep up the Ping Pong, as some chapters slip into the past or the future, and the Pings are not sufficiently distinguishable from the Pongs. In the past, series of novellas or novels used a variation on the Timeslip Ping Pong Plot, where the events and resolution of one story sets up the problem for the next. Rather than a series of sequels, what often happened was a number of sequels and prequels, until the final, ultimate and closing Prelude. (In a sense this is what Jack Womack is doing in his Dryco sequence). One variation on this should be known -- after E.E. 'Doc' Smith's novels -- as the My-Ultimate-Weapon-Is-More-Ultimate-Than-Yours-Is Sequence. In every Lensman novel there is an Ultimate Weapon, a weapon too dreadful to use, which they use after all, since they have it around, cluttering up the place. Fortunately for the sequence, the UW can be countered by the Ultimate Strategic Defense Initiative (or USDI) which is much more ultimate, and an even more UW. By the time you get to the eighth novel in the sequence, the UW of the first book ought to be renamed the Antipenultimate Antipenultimate Antipenultimate Antipenultimate Antipenultimate Antipenultimate Penultimate Ultimate Weapon. The preceding terminology covers the major versions of narratives used within contemporary science fiction, narratives which it seems likely will dominate the next century of science fiction. Similarly the same sorts of settings, which I hope to explore elsewhere, will dominate: in particular the rainy city, post-holocaust and the next five minutes (although the pre-millennial tension setting is clearly now obsolete). Footnotes A "polder" is a realm which is deliberately maintained as separate and distinct from the outside world (Clute 772-3). "Instauration fantasies" are those where "the real world is transformed" (Clute 501). For cyberpunk and the underworld narrative see Joan Gordon, "Yin and Yang Duke It Out", in Storming the Reality Studio: A Casebook of Postmodern Science Fiction, ed. Larry McCaffery (Durham and London: Duke UP, 1991). For a longer exploration of Mythago Wood see my article in Vector 192 (March/April 1997): 4, and my "Journeys beyond Being: The Cyberpunk-Flavoured Novels of Jeff Noon", Novel Turns: The Novel in Europe Now, ed. by John Gatt-Rutter (forthcoming). The term "cyberpunk-flavoured" is one I coined for a discussion of the works of Jeff Noon: the novels share a number of characteristics of cyberpunk, whilst not necessarily being unproblematically cyberpunk. A tradition of works which have a realm analogous to cyberspace, or a realm which serves a comparative narrative need, could be identified; Borges's use of the term "precursor" might be useful here to characterise such a tradition, although as Mythago Wood is more or less contemporary with Neuromancer it cannot properly be a precursor. The cyberspatial realm of the Vurt feather is something between an interior mental landscape and a computer game; the wood realm of Mythago Wood is somewhere between an interior mental landscape which can be simulated / created / entered with the use of electrical stimulation on the brain and a secondary world. References Clute, John, and John Grant, eds. The Encyclopedia of Fantasy. London: Orbit: 1997 Citation reference for this article MLA style: Andrew M. Butler. "Towards a Language for Science Fiction Studies: Narratives." M/C: A Journal of Media and Culture 2.9 (2000). [your date of access] <http://www.uq.edu.au/mc/0001/sf.php>. Chicago style: Andrew M. Butler, "Towards a Language for Science Fiction Studies: Narratives," M/C: A Journal of Media and Culture 2, no. 9 (2000), <http://www.uq.edu.au/mc/0001/sf.php> ([your date of access]). APA style: Andrew M. Butler. (2000) Towards a language for science fiction studies: narratives. M/C: A Journal of Media and Culture 2(9). <http://www.uq.edu.au/mc/0001/sf.php> ([your date of access]).

Abstract John of Gaunt’s life was dominated by war and the rumours of peace. From 1359, when he accompanied Edward III on his last great expedition to France, until his return from the duchy of Gascony in 1395, he was continually employed in the wars against the French and their allies. Nor was he simply an English war-leader but, by reason of his marriage to Constance of Castile in 1372, a European prince with pretensions to a throne of his own that had to be secured by force of arms. In consequence, Gaunt participated in 12 major military expeditions, besides preparing for several more that failed to materialize, while his responsibility for peace negotiations with the French involved him in 15 separate diplomatic missions. These facts have an immediate importance for the study of the duke’s retinue, historiographical as well as historical. Much of the most distinguished pioneering work on ‘bastard feudalism’ and the indentured retinue was based principally upon a study of the contracts between John of Gaunt and his retainers.

This chapter recounts how peace prevailed between France and Britain for more than a quarter of a century after 1713. Ill-assorted allies since the days of John Law and the Abbé Dubois, the two kingdoms went their separate ways in 1731, only to preserve a wary détente down to the end of the decade. The chapter mentions Sir Robert Walpole, Britain's prime minister from 1721 to 1742, and Cardinal André-Hercule de Fleury, Louis XV's chief minister from 1726 to 1743, who favored the policy of peace. It talks about the development of a state of undeclared war by 1740, as Britain launched a military expedition to force open markets in Spanish America and Louis XV sent the French navy to defend Spanish colonies. This conflict was soon subsumed by the larger War of the Austrian Succession, the first general conflagration in Europe since 1713.

Abstract This chapter discusses the year 1968 and America’s involvement in the Vietnam War. American involvement in the affairs of Vietnam had begun decades earlier when the Truman administration agreed to extend economic and military aid to France, which had been struggling against a communist-led independence movement that threatened colonial rule in Indochina. That commitment had been expanded by President Dwight Eisenhower and John Kennedy to include the creation and subsequent protection of a separate anticommunist government in South Vietnam. Under President Lyndon Johnson, the war rapidly became a massive, highly visible, and profoundly divisive affair. The American peace movement, which had struck its deepest roots on college campuses, also expanded rapidly during this time. By November 1968, when Richard Nixon was elected president of the United States, the public was bitterly split over issues of race, crime in the streets, sexual norms, cultural values, attitudes toward authority, and beliefs about the role of government in correcting social injustice.