Islam and Christianity: Comparing the Theory of Supersession Concerning Abraham

Supersession is the theory of one idea supplanting the other. In both Christianity and Islam, this idea is commonplace. In Christianity, the message of Jesus creates a New Covenant for both Jews and Gentiles, while in Islam, the revelation of Muhammad restores the original religion that God intended from the beginning. Christianity and Islam both supersede Judaism in very similar ways. In regards to the use of Abraham in particular, each religion inherits him by appealing to Jewish scripture or their oral tradition, using him to prove their truth claims, and claiming that their religion is originally the religion of Abraham.

Is the cinematic newsreel the strongest weapon? The "Luce" newsreel reception during fascism

The Luce newsreel was a fascist-pivotal propaganda instrument. Mussolini thought movies were the strongestweapon; however, the efficiency of cinematographic propaganda on people did not work as well as expected,especially nonfiction. This article intends to value, through oral testimonies, the influence of Lucenewsreel on the Italian population during fascism, the degree of truth of film news, and which of those piecesof news were more repeated, as well as the influence of the Italian and its leader image on the collective mind.

Fiction and reality in "The Kindly Ones" of Jonathan Littell

This paper studies the novel The Kindly Ones, whose main plot charts the anguished memories of a Nazi officer. The reader of this novel is plunged into the harshest atrocities of the Holocaust and WWII, as these are recounted by a perverse conscience who is unmoved by the most terrible actions. Fiction and reality are contrasted in the novel against the framework of history writing and the subsequent debates sparked by historical elaboration. This novel perceptively captures historical truth, thus calling for critical attention upon the collective responsibility which will prevent the repetition of events.

‘Should we try to Self Remember while playing Snakes and Ladders?’: Dr. Gambit as Gurdjieff in Leonora Carrington’s The Hearing Trumpet (1950)

Arising from the Paris surrealist group, the English-born writer and painter Leonora Carrington (England 1917 - Mexico 2011) was perpetually suspicious of orthodoxy and she often pokes fun at, parodies, and, ultimately, upsets traditional hierarchies of power. In her work animals impart wisdom, Goddesses loom large, and domestic spaces become sites of occult power. In this paper I will investigate Carrington's suspicion of gurus with claims to esoteric truth. Carrington participated in Fourth Way groups run by students of Gurdjieff (Christopher Fremantle) and Ouspensky (Rodney Collin). However, while she had a deep interest in the teachings, Carrington remained suspicious of the group practices of the Fourth Way, as can be seen in Elena Poniatowska’s fictionalised biography Leonora (2015). This articles explores Carrington's contact with the ‘Work’ in order to shed light on the character of Dr. Gambit in her 1950 novel, The Hearing Trumpet, commonly thought to be a parody of Gurdjieff. In doing so, it will investigate Carrington’s feminist objections to the role of the guru, while also contributing to a discussion of the unease some felt toward the praxis of the Fourth Way, despite their attraction to the philosophy.

Lawyers & Truth Recovery Mechanisms: South Africa

Focusing on post-apartheid South Africa, the report explores the role of lawyers in truth recovery mechanisms.

The report was prepared by Dr Rachel Killean and draws on a series of interviews conducted in South Africa (with legal academics, ‘struggle’ lawyers, state lawyers, judges and human rights activists) as part of the wider Lawyers, Conflict and Transition project.

Dr Killean begins with an overview of the various roles the legal profession has played in South Africa, both during the apartheid era and post-transition.

The first half of the report then explores the role of lawyers as professional participants – firstly at the South African Truth and Reconciliation Commission and secondly in the Marikana Commission of Inquiry.

The report then considers the notion of lawyers as subjects of truth recovery, looking in particular at the Special Legal Hearing on the legal profession as part of the South African Truth and Reconciliation Commission.

In the concluding section Killean reflects on the extent to which lawyers influence the procedures and outcomes of truth recovery mechanisms and offers some concrete suggestions as to how the involvement of lawyers in such processes might be more effectively managed.

With regard to lawyers as subjects of truth recovery, she acknowledges the limitations of the South African model but posits that the endeavour must be applauded, not least because it demonstrated that it is possible to scrutinise the role of the legal profession in past conflict, and that it is worth wrestling with the associated challenges.

Facing the Face of the Other: The Case of the Nia Centre

Until comparatively recently there has been little systematic effort to record the contribution to British theatre history of the diversity represented by Black British and British South and East Asian theatre makers. That failure to ‘see’ and acknowledge this lacuna within the academy reflected what in 2001 was condemned as widespread institutional racism within the theatre industry itself. The other ‘faces’ had been rendered effectively invisible. This chapter considers the ethical and evidential challenges associated with the task of recovering the history of a project created to enhance an important concept of cultural identity: the little-documented failure in the 1990s of the Nia Centre, the UK’s first black arts centre which opened in Hulme, Manchester in 1991. My exploration raises a number of key ethical challenges: How in the aftermath of the Nia’s collapse and in the almost complete absence of archival records, is the historian to mediate what inevitably are multiple truths coming from different perspectives? Whose, and what values were, and remain, at stake both at the time of the project itself, and in the telling of the history? How does the historian deal with failure especially if the circumstances were obscure and little regarded? The dream of the Nia died more than a decade ago, but the participants in that history are very much alive and their sensitivities have to be respected as part of the ethical challenge.

Theatre History and Historiography Ethics, Evidence and Truth

This collection of essays is the first time a group of theatre historians have come together to consider the challenge of applying ethical thinking to attempts to truthfully represent the past. Topics include the life of the celebrated Restoration actor Thomas Betterton, the little-known records of hitherto forgotten women involved in Victorian theatre, amateur theatricals enjoyed by the British army in colonial India, the loss of a pioneering arts centre for African and Caribbean culture, performance art in Wales and present-day community arts in Northern Ireland. While confronting such difficult issues as the instability of evidence and the unreliability of memory, the contributors offer fresh perspectives and innovative strategies for fulfilling their ethical responsibility to the lived experience of the past.

The flow of reality’s development: from postmodernism to post-postmodernism in John Irving’s The World According to Garp and Last Night in Twisted River

In this master’s thesis, I examine the development of writer-characters and metafiction from John Irving’s The World According to Garp to Last Night in Twisted River and how this development relates to the development of late twentieth century postmodern literary theory to twenty-first century post-postmodern literary theory. The purpose of my study is to determine how the prominently postmodern feature metafiction, created through the writer-character’s stories-within-stories, has changed in form and function in the two novels published thirty years apart from one another, and what possible features this indicates for future post-postmodern theory. I establish my theoretical framework on the development of metafiction largely on late twentieth-century models of author and authorship as discussed by Roland Barthes, Wayne Booth and Michel Foucault. I base my close analysis of metafiction mostly on Linda Hutcheon’s model of overt and covert metafiction. At the end of my study, I examine Irving’s later novel through Suzanne Rohr’s models of reality constitution and fictional reality. The analysis of the two novels focuses on excerpts that feature the writer-characters, their stories-within-stories and the novels’ other characters and the narrators’ evaluations of these two. I draw examples from both novels, but I illustrate my choice of focus on the novels at the beginning of each section. Through this, I establish a method of analysis that best illustrates the development as a continuum from pre-existing postmodern models and theories to the formation of new post-postmodern theory. Based on my findings, the thesis argues that twenty-first century literary theory has moved away from postmodern overt deconstruction of the narrative and its meaning. New post-postmodern literary theory reacquires the previously deconstructed boundaries that define reality and truth and re-establishes them as having intrinsic value that cannot be disputed. In establishing fictional reality as self-governing and non-intrudable, post-postmodern theory takes a stance against postmodern nihilism, which indicates the re-founded, non-questionable value of the text’s reality. To continue mapping other possible features of future post-postmodern theory, I recommend further analysis solely on John Irving’s novels’ published in the twenty-first century.

A shadow replaced by realities: the theme of temple in relation to Christology, Pneumatology and Ecclesiology in John's Gospel

This dissertation seeks to examine the role of the temple in relation to Christology, Pneumatology, and Ecclesiology in John’s Gospel. The Jerusalem temple, which was believed to be the shadow of the true temple in the heavens, was destroyed in A.D. 70. John, writing his Gospel after its destruction, presented the person of Jesus as the new cultic center of Judaism, in whom the more transcendent reality of the heavenly temple was truly embodied. The eschatological Spirit would animate the new worship inaugurated in the messianic temple, so that the believers could worship the Father in spirit and in truth. The living water of the Spirit was expected to flow from the heavenly temple, which is the glorified Jesus, throughout the earth via the mission of the ecclesial community – a community now constituted as the sacred temple. In this way, the Fourth Gospel presents Israel’s temple and its cult replaced by new realities: the temple of Jesus’ body and the temple of the church. The former is incarnated as the temple, while the latter is transformed into the temple by the indwelling power of the Holy Spirit.

Lie detection and children: Impact of the mode of presentation

Although a great deal of research has examined lie-detection among adults, little research has examined the differences between audio and visual mediums for deception among children. In the current study participants were presented (n = 42) with recordings of four children, each describing his/her experience of getting glasses. Two of the accounts were truthful, two were fabricated. Half of the participants were presented with videos, half were presented with audio-recordings. Following the presentation of each recording, participants responded to questions regarding the truthfulness of each child’s account. Results showed that when evaluating truth-tellers, participants’ lie-detection accuracy was significantly greater than chance. Within the video condition, non-parents were shown to report significantly more lie-related cues than parents. Several deception cues were shown to be related to lie-detection accuracy.

Sculpting in ice: writing for the postmodern stage

In the following thesis I argue that from within a postmodern framework the ‘realist narrative mode’ finds its position as the narratological form of choice for communicating historical and biographical ‘truth’ under question. Furthermore, as the formal distinctions between ‘fictional’ and ‘factual’ writing become less clear, I propose that the writer’s approach to his/her craft must also be redefined. Under such conditions I argue that each individual text defines and legitimises its own particular terms of reference and narrative form. The act of writing within a postmodern framework therefore, is not only a craft, but also a philosophical activity and as such requires the writer to enter the world of theoretical fiction. Sculpting in Ice is the product of one such text entering into this process. This thesis demonstrates in action the process by which the play text for Sculpting in Ice develops its own theory of fiction through the writing of that fiction. The primary focus of the thesis is, therefore, to explore the relationship between writing and theory and to render explicit the particular ‘theory of fiction’ created during the writing of Sculpting in Ice.

The Origins and Legacy of a Currency Board in Argentina

This is a qualitative case study of the adoption of a currency board in Argentina in 1991. It presents a discursive analysis and intellectual history of four overlaying and mutually influencing stories of Convertibility’s adoption. It is (1) the story of how Menem aligned himself to the Washington Consensus as a means to win a Presidential election. This ideological alignment influences and is influenced by a (2) reconstitution of the Peronist Party’s historically entrenched identity. This in turn re-fashion the whole system of interest articulation and relative power of interest groups in Argentina. The adoption of a currency board also marks the pace of (3) the entrenchment neoliberal interests across a domestic network of neoliberal think-tanks, technocrats, politicians, and “technopoles” articulating neoliberal interests outside of the Washington Consensus, within an International Neoliberal Network. Argentina’s adoption of a currency board falls in line with the Corner Solutions, a neoliberal doctrine promoted to influence developing countries to adopt two forms of exchange rate regimes that allow for less government involvement, including a currency board. Argentina starts as a test country and then becomes (4) an ideological stepping stone to help promote the creation of currency boards across more “developing” countries. These stories are not sequential but concurrent, and they help advance an alternative critique of neoliberalism that focuses on specifics to induce case-specific lessons versus a theory claiming to provide any universal truth.

Historiographic Metafiction and the Neo-slave Narrative: Pastiche and Polyphony in Caryl Phillips, Toni Morrison and Sherley Anne Williams

The classic slave narrative recounted a fugitive slave’s personal story condemning slavery and hence working towards abolition. The neo-slave narrative underlines the slave’s historical legacy by unveiling the past through foregrounding African Atlantic experiences in an attempt to create a critical historiography of the Black Atlantic. The neo-slave narrative is a genre that emerged following World War II and presents us with a dialogue combining the history of 1970 - 2000. In this thesis I seek to explore how the contemporary counter-part of the classic slave narrative draws, reflects or diverges from the general conventions of its predecessor. I argue that by scrutinizing our notion of truth, the neo-slave narrative remains a relevant, important witness to the history of slavery as well as to today’s still racialized society. The historiographic metafiction of the neo-slave narrative rewrites history with the goal of digesting the past and ultimately leading to future reconciliation.

Centered Fluidity and the Horizons of Continuity in Djuna Barnes' Nightwood

Modern writers like Djuna Barnes allow for the post-modern fluidity and explosion of sex and gender without finalizing either in a fixed form. Whereas the classical, archetypal androgyne is made up of two halves, one man and one woman; the deconstructed androgynous figure is not constituted of oppositional terms which would reflect an essential and unimpeachable truth. I reveal the way Djuna Barnes’ Nightwood not only thematizes the fluid androgyne, but also cleverly verbalizes David Wood’s perpetual and un-dischargable “debt” to extra-discursivity while poetically critiquing gender “appropriateness,” societal constraints, and the constitution of identity. Barnes presents a decentralized, ungrounded and non-prescribed world in Nightwood not only through her cross-dressing and androgynous characters, but also in her poetics, her assertion of the open-ended quality of language, and a strong imperative to negotiate our physical existence in a world of fluid gender and sexual boundaries.