Download A Wounded Name by Dot Hutchison PDF

By Dot Hutchison

Ophelia Castellan is simply not simply one other lady at Elsinore Academy. Seeing ghosts isn't really a ability prized in destiny society better halves. even if she takes her tablets, the bean sidhe beckon, reminding her of a promise to her lifeless mom. Now, within the wake of the Headmaster's unexpected loss of life, the full academy is in turmoil, and Ophelia can now not forget about the fae. specifically as soon as she starts off seeing the Headmaster's ghosts—two of them—on the varsity grounds. Her merely confidante is Dane, the Headmaster's grieving son. but while she supplies extra of herself to him, Dane spirals towards a sad fate—dragging Ophelia, and the remainder of Elsinore, with him.

You know the way this tale ends. but even within the face of convinced demise, Ophelia has a call to make—and a promise to maintain.

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The relevant social forces are the rise of what Guillory calls a “professional-managerial class” in America, a new, dominant segment of the bourgeoisie who no longer require the cultural capital of the academic humanities to legitimize their dominance and who consequently threaten to marginalize, or even eliminate, the study of literature altogether: “The professional-managerial class has made the correct assessment that, so far as its future profit is concerned, the reading of great works is not worth the investment of very much time or money.

One consequence of this post-Darwinian aesthetic that might be troubling to humanists is that it makes the study of art a branch of “memetics,” and thus raises the specter of reductionism. If artworks are conceived as sets of replicators that evolve by natural selection, doesn’t the study of art become the task of scientists? Dawkins certainly seems to believe that memetics can, and should, be a scientific discipline. The key assumption that leads him to that conclusion is the assumption that memes must be identical to brain structures: “DNA is a self-replicating piece of hardware.

Another way in which Dawkins’s Darwinian conception of art encourages us to think of the aesthetic in instrumental or functional terms is by suggesting that the way many kinds of memes propagate themselves is through various institutions in society. Just as genes typically ensure their survival by making themselves indispensable to the purposes of their host organisms—as with the genes that produce sharp teeth and claws, camouflage coloring, and big brains—so memes typically ensure their survival by satisfying the purposes of their host brains.

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