One measure of the validity of [Joseph] Frank's insight is the extent to which other versions of his ideas appear in other contexts: for if "spatial form" refers to something real, it cannot have escaped notice by other readers. One thinks, for example, of Northrop Frye's description of the critic viewing all the elements of the poem as a simultaneous array before him; or of Gaston Bachelard's evocative descriptions of The Poetics of Space. Or Pound's interest in ideographic script; or (...) the frequent critical association of modern literature with impressionist painting. Or Eliot's poet synthesizing Spinoza, the sound of the typewriter, and the smell of cookery into a unified whole. Or—at the root of it all, perhaps—Poe's insistence on the unified effect of the story or poem.1 All of these instances reflect a more or less casual assumption of the basic premise of Frank's essay. More recently another critic, Frank Kermode, has offered an alternative description of this general problem. In The Romantic Image2 he assesses symbolist poetic theory; here the verbal image , autonomous and autotelic, presumably unites meaning and feeling without intervening reflection or discourse: the "image" so hypostatized seems very close to a "spatial" form, and certainly the suppression of discourse, of reflection generally, follows from the disruption of syntax and narrative that results from the impulse toward "spatial" effects. Provisionally, we might say that Joseph Frank's essay is grounded in an essentially formalist conception of the literary work as artifact, and that the striking features of his argument result from an attempt to assimilate extended works to a theory basically lyric in its orientation: as corollary, we must assume that the modern writers he cites had themselves operationally defined the concept in the course of their writing. · 1. Northrop Frye, "Literary Criticism," in The Aims and Methods of Scholarship in Modern Languages and Literature, ed. James Thorpe , p.65. See also Fables of Identity: Studies in Poetic Mythology , p. 21. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas . Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound . T.S. Eliot, "The Metaphysical Poets," Selected Essays , p. 247. Edgar Allan Poe, review of Twice-Told Tales, in Works, 17 vols., ed. James A. Harrison 11: 104-13.· 2. Frank Kermode, The Romantic Image . William Holtz, professor of English at the University of Missouri-Columbia, is currently preparing an edition of an unpublished juvenile manuscript by Charlotte Brontë. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 62-79 [Access article in PDF] Literature Itself:The New Criticism and Aesthetic Experience Daniel Green I AFTER ALMOST TWO DECADES of tumult and transformation in university departments that still claim literature as part of their disciplinary domain, what is most remarkable about literary study at the beginning of the twenty-first century is how similar it is to what passed for such study (...) at the beginning of the twentieth century. Like philology one hundred years ago, academic literary study today—at least at the most eminent universities and in the most prestigious journals—is a highly esoteric activity, unlikely to appeal to anyone outside its own "professional" boundaries, anyone whose foremost interest in works of literature is simply to read them. It is, therefore, an endeavor that could hardly exist outside the university's institutional protection, and it is most strikingly concerned not with the appreciation of the intrinsic qualities of literature but with the historical and cultural "knowledge" that can be acquired from works of literature through a special kind of analysis. The effort, chronicled by Gerald Graff in Professing Literature, to make "literature itself" the focus of academic study and to establish "aesthetic criticism" as the primary mode of literary study must surely be judged a failure, the current academic scene clearly dominated by the sort of scholars Graff terms "investigators." 1But of course the motives for rejecting the merely literary as a focus of study are quite different among current scholarly investigators as compared to the philologists of 1901. The attitude of the latter can probably be captured in the words of one of them quoted by Graff: "Why then waste time and brains in thrashing over again something which is after all only subjective opinion? Mere aesthetic theorizing [End Page 62] should be left to the magazine writer or to the really gifted critic" (p. 124). Such "researchers" did not deny the value of reading works of literature; they simply considered this value to be essentially "subjective," not an appropriate object of academic scrutiny. While these remarks do imply some condescension toward the "really gifted critic" and this critic's "mere aesthetic theorizing," they do not repudiate the very idea of an aesthetic approach to literature. The present generation of academics engaged in the investigation of literature, on the other hand, have repudiated the aesthetic approach, either explicitly, through the well-publicized critiques of the canon, of the very notion of the great work, or of the remaining approaches still associated with New Criticism, or implicitly through the gradual establishment of cultural investigation as the new norm for the professional training of graduate students and as the dominant mode of analysis in the influential journals. Moreover, the primary motive behind the renunciation of the aesthetic has more to do with politics than with methodology: for these scholars, the aesthetic is literally useless, quite irrelevant to the paramount goal of "intervening" in a continuing ideological struggle that is thought to be the main business of the university scholar.In the context of the history of modern literary criticism (as opposed to the history of the American university), the current situation mirrors that which prompted the emergence of The New Criticism in the 1930s. Although Vincent Leitch identifies "the evocative mode of Impressionist criticism, the moralism of Neo-Humanism, the anti-modernist cultural criticism of Mencken and Van Wyck Brooks," as well as the "sociologizing" of Marxist criticism" as the collective bêtes noires of the New Critics, it was clearly the latter they considered to be the most unwelcome. Not only had it effectively eclipsed the other practices, but it could be said to have exhibited most of those characteristics against which New Criticism expressed the deepest antipathy. 2 Compared to the close reading New Critics would espouse, Marxist criticism was superficial, willing to settle for the most readily available interpretation (according to the Marxists' own critical assumptions), moralistic, committed to the idea that the best literature was that which could be shown to be good for you, historicist, concerned to place works... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japan, France, and East-West Aesthetics: French Literature, 1867-2000Carol S. GouldJapan, France, and East-West Aesthetics: French Literature, 1867-2000. By Jan Walsh Hokenson. Madison and Teaneck: Fairleigh Dickinson University Press, 2004. Pp. 520. $80.00.Jan Walsh Hokenson's masterful work, Japan, France, and East-West Aesthetics: French Literature, 1867-2000, traces the migration of the Japanese aesthetic into French art, through French literature, and ultimately into Western modernism and postmodernism. (...) Despite the title, this book goes beyond French poetics, for it deals with some philosophical views about knowledge and art, and it offers an extended argument for the value of comparative studies, including comparative philosophy. The author moves easily among the areas of literature, art, and philosophy, all of which she discusses with authority.Her story begins with the birth of 'japonisme,' the term coined by critic Philippe Burty in 1876 to refer to the passion-artistic and commercial-for things Japanese. She identifies three waves of japonisme in French literature: pre-World War I, between the wars, and post-World War II. She leads the reader through each of these waves, detailing the cultural and artistic milieu in each and closely analyzing key figures.For the origins of japonisme, Hokenson takes us to the studio of Parisian engraver, printmaker, and designer Felix Bracquemond in 1856, which was just after the end of Sakoku. Bracquemond, according to the "most persistent legend," [End Page 699] opened a box of Asian ceramics and discovered that they were wrapped in extraordinary materials-layers of Hokusai woodcut prints the likes of which he had never seen. He summoned members of his circle, which included Manet, Degas, and Whistler (pp. 13-15). It is thus through an intriguing historical contingency that this relatively inexpensive, mass-produced art form would become the inspiration for some of the most personal and expensive art works today. More relevant to Hokenson's interest, however, is the fact that these woodcuts would be a seminal force in the direction of French letters.Had Bracquemond not had the vision to see the artistry of these prints or had the shipper used a different packing material, would Western painting and literature have taken a different turn? Would the West have seen impressionism, symbolism, or art nouveau? Would Proust, Claudel, Mallarmé, and others have written different works? From Hokenson's account one gleans that the French avant-garde eye was ready to see Hokusai and others, for artists felt that the mimetic view of art had led them to an impasse. Visual and literary artists were ready to abandon the Renaissance ideals of verisimilitude, perspective, the integrity of space, and the linearity of time. They were ready to accept the fragmentation of picture space, perspectivism, and suggestiveness that were all characteristic of the Japanese aesthetic.She explains how Henri Bergson, with his theories of intuition and subjective time, provided a philosophical foundation for the artistic commitments of the early japonistes. She documents the access many of the japonistes had to Bergson. Bergson, like the japoniste poets and painters themselves, emerged from a French tradition of using subjectivity as a starting point. The reader sees this respect for the subjective interact with various Japanese influences over the course of the twentieth century. The receptiveness to the haiku exemplifies this phenomenon, as it begins from a fleeting, intuitive, personal experience. She points out that "by 2000, the haiku was almost a commonplace in French poetry" (p. 407).Although she says little about what Bergson may have absorbed from the japonistes, she does tell of the little-known influence exerted by the Japanese phenomenologist Kuki Shūzō in 1928 on Jean-Paul Sartre. Both Sartre and Simone de Beauvoir either forgot this relationship or forgot to mention it in their respective narratives about the development of existentialism. Indeed, this was not discovered, Hokenson reports, until the 1980s. She rightly points out that that this changes the usual story about French philosophy in the early twentieth century, for it means that Sartre became acquainted with German phenomenology before 1932 and from someone other than Raymond Aron (pp. 333-334, 343, 474 n. 10). In a fascinating discussion of Kuki's... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 462-464 [Access article in PDF] The Phantom Table: Woolf, Fry, Russell and the Epistemology of Modernism,by Ann Banfield; 452 pp. Cambridge: Cambridge University Press, 2000, $55.00. We have grown accustomed to reading Woolf philosophically. Lucio Ruotolo, Mark Hussey, Gillian Beer, and Pamela Caughie are just a few notable scholars who have used philosophical texts and themes to shed light on Woolf's novels and (...) life, but Ann Banfield's The Phantom Table marks the beginning of a new approach. Contrary to the poststructuralist readings of the last two decades, Banfield treats Woolf as a "philosophical realist" (p. 294), an interpretation that presupposes that "Truth, although logically constructed, remains nonetheless objective, a discovery, as opposed to a creation, of the mind" (p. 94). To justify this approach, Banfield makes a case for privileging Bertrand Russell's "symbolic logic" (p. 42) as "a key if limited influence on Woolf's thinking about language" (pp. 42-43). Simply appropriating elements of Russell's rigorous epistemology, however, is not enough to determine Woolf's thinking, for as Banfield claims: "Woolf's philosophically inflected aesthetic is not one Russell would have foreseen" (p. 54). Roger Fry's astute reflections on Post-Impressionism aesthetics complement Russell's philosophical approach and thereby provide Woolf with a framework for the "novel's realism [which] must relate two competing realities, the private world and the public persona" (p. 324). Through an extraordinarily insightful analysis of the work of Russell and Fry, Banfield offers an intelligent interdisciplinary interpretation of the rigorous epistemological presuppositions at the base of Woolf's aesthetic.Central to Banfield's project is the conviction that reality is mind-independent (p. 101). On this view, "modern fiction ultimately aims to describe a reality beyond privacy" (p. 298), but to understand how we can access that reality we must carefully distinguish sensations, sense-data, and sensibilia. According to Russell, sensations are the private experiences or awareness of a subject, whereas a sense-datum is "that external object of which in sensation the subject is aware" (p. 70). Sensibilia, the lynchpin of Russell's and Banfield's theory, have the same ontological status as sense-data, though they are not necessarily data to a specific mind. Banfield cleverly articulates the ontological priority of sensibilia by reversing Berkeley's famous dictum: "What brings about" sensibilia's "actualization is the perspective's occupation by a subject and the corresponding interception of sensibilia by sense-organs located in time and space" (pp. 74-75). Sensibilia need not be perceived to exist, which places the perceiving subject at the mercy of sensibilia, rather than making sensibilia ontologically dependent upon the perceiving mind.Given the primacy of sensibilia, the epistemological "goal is now to leave one's perspective and imaginatively project oneself into other perspectives, even the possible ones inhumanly occupied, to experience the world as it would be without the thinker" (p. 213). According to this system, the perceiving [End Page 462] subject and the modernist artist become irrelevant because they can inhibit our experience and/or understanding of sensibilia. Eliminating the subject and effacing the author, therefore, become necessary so that "artistic creativity" (p. 173) is given free flow, which means that for art to achieve its goal of seeing "the world 'as far as possible as it is in itself, and not merely through the distorting medium of personal desire'" (p. 382), the death of the subject is mandatory—though this death of the subject differs considerably from Roland Barthes's, Michel Foucault's, and Paul de Man's. Once the subject is eliminated, which occurs in Woolf's novels according to Banfield, the novelist will be able to create a "method of multiple perspectives" which functions as a "route to wider knowledge" (p. 312) of sensibilia.In the last part of the book, Banfield examines how "Fry's aesthetic derives from analytic philosophy" (p. 248) and then argues that Woolf incorporates much of this aesthetic into her work. Fry makes a clear distinction between Impressionism and Post-Impressionism. Impressionism represents the "totality... (shrink)

The rise of world literature is the most noticeable phenomenon in literary studies in the twenty-first century. However, truly well-known and globally circulating works are all canonical works of European or Western literature, while non-European and even "minor" European literatures remain largely unknown beyond their culture of origin. World Literature as Discovery: Expanding the World Literary Canon argues that world literature for our time must go beyond Eurocentrism and expand the canon to include great works from (...) non-European and "minor" European literatures. As much of the world's literature remains untranslated and unknown, the expansion will be an exciting process of discovery. By discussing fundamental questions around canon, circulation, aesthetic values, translation, cosmopolitanism and the literary universal, Zhang Longxi proposes a new and liberating concept of world literature that will shape world literature worthy of its name. This book speaks for a more inclusive idea of world literature, and shows students and scholars alike that all the literary traditions, particularly non-European traditions, will be able to make important contributions and expand the canon of world literature. (shrink)

In contrast to several recent studies that align Vincent van Gogh's plans for a “Studio of the South” with entrepreneurial capitalism, this essay considers the scheme in the context of nineteenth-century cooperative socialism. It traces the artist's experiences among striking miners in Belgium and impoverished weavers in the Netherlands, and it examines the artworks that these encounters inspired. In the process, I identify basic principles that would inform Vincent's plan for a producers' cooperative in Arles in 1888. Working from Vincent's (...) letters, I identify two stages in the development of the artist's proposal. In the winter and spring, Vincent discussed a strategic “association” of Impressionist artists and dealers. By the fall, he had combined this concept with his long-standing desire for companionship; the resulting conception was a cooperative avant-garde atelier in which member artists and dealers would dedicate themselves to maintaining communal working and living spaces and providing materials for production. The essay then explores Vincent's plan in the context of mid-nineteenth-century discussions of cooperative organization. I conclude that Vincent's scheme should be understood as a revival of the reformist, even socialist, literature that was current at mid-century. (shrink)

My basic supposition is that the destruction of the little Jew's face and hands in Vandover and the Brute images the irruption of mere materiality within the scene of writing-that instead of Crane's double process of eliciting and repressing that materiality, what is figured in the shipwreck scene is a single, unstoppable process of materialization, involving both the act of representation and the marking tool and actual page , the result of which can only be the defeat of the very (...) possibility of writing .Here it might be objected that such a reading derives whatever plausibility it has from the comparison with Crane, and in a sense this is true: my claim is precisely that it's only against the background of Crane's seemingly bizarre but, in this regard, normative or centric enterprise that the wider problematic of late nineteenth- and early twentieth-century literary "impressionism" can be made out. In another sense, however, the comparison with Crane involves an appeal to issues—notably that of materialism—which have long been basic to Norris criticism and which the recent work of Walter Benn Michaels has brought to a new level of conceptual sophistication and historical refinement. Specifically, the title essay in Michaels's book, The Gold Standard and the Logic of Naturalism, interprets both McTeague and Vandover and the Brute in terms of a conflict between materiality and representation that found contemporary expression both in the debates over the gold and silver standards versus paper money and in the vogue for trompe l'oeil painting ." In this regard a crucial moment in Vandover's regression from man to beast is his discovery that, as a painter, he has lost the ability to represent nature three-dimensionally; Michaels treats this development as equivalent to "replac[ing] the painting with nature itself" , and goes on to remark: "But this ... is ultimately a distinction without a difference. Vandover the artist can so easily devolve into Vandover the brute precisely because both artist and brute are already committed to a naturalist ontology—in money, to precious metals; in art, to three-dimensionality. The moral of Vandover's regression, from this standpoint, is that it can only take place because . . . it has already taken place. Discovering that man is a brute, Norris repeats the discovery that paper money is just paper and that a painting of paper money is just paint" . My reading of the shipwreck passage would thus be consistent with what Michaels calls Norris's "trompe l'oeil materialism" , though the nearly sadomasochistic violence of that passage may be taken to imply that materialism's consequences for writing threaten to be even more disastrous than they are for painting. But rather than analyze the role of writing as such in Vandover, which would involve an intricate discussion not just of that novel and McTeague but also of Michaels's essay, I want to turn to another, lesser-known book by Norris, in which a thematic of writing plays a conspicuous and more nearly univocal role: A Man's Woman . Michael Fried is J. R. Herbert Boone Professor of Humanities and director of the Humanities Center at the Johns Hopkins University. His most recent book is Courbet's Realism . He is currently at work on a book to be titled Manet's Modernism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 114-121 [Access article in PDF] TRANSFORMING IMAGES: HOW PHOTOGRAPHY COMPLICATES THE PICTURE, by Barbara E. Savedoff. Ithaca, New York: Cornell University Press, 2000, 233 pp., $35.00 hardcover. The very title of Barbara Savedoff's book invites us on a journey into photography's multiple roles. Photographic images transform their subjects at the same time that they themselves are the results of transformations. They also (...) complicate comfortable distinctions between fact and fiction because the world from which they come is complicated.This book appears at a time full of fear (felt by some) and excitement (felt by others) sparked by digital image-making, in which the culture of photography is undergoing transformations of its own. It is a passionate time, with some unwilling to throw the still photograph into the "defunct" pile, while others are all too ready to do so. The limits and possibilities of the still photograph need to be redefined if it is going to have any meaning to anyone anymore.Through the din of voices, through the heated discussions, Savedoff's voice rings clear. Her meditations on the nature of still photography and its relation to the pictorial forms that preceded it (painting, drawing, printmaking) and proceed from it (film, digital photography) are written in a style that seeks to include, not exclude the reader. Art is complicated enough. Writing about art need not complicate it further.Savedoff focuses her inquiry on the way photographs transform works of art and other representations. From the insight that this specificity allows, she attempts to build a more general account of photographic transformation. First, she examines the fascination in Western painting — a fascination that has been influenced by legends and literature — with the idea that representations are alive or can come to life. She begins with paintings that actually illustrate such legends. Then she goes on to paintings where the distinction between the "real" and the "represented" is ambiguous. One such type she calls "gestural ambiguity," found frequently in Northern Renaissance and late Italian Renaissance paintings, "where figures that are given the placement and coloring of stone statues are at the same timegiven the expressive aspect or functions of living beings. Artworks are depicted as though they were alive" (p. 14). Another type, "perceptual ambiguity," is found in Postimpressionist paintings, when artworks and "real" things are painted in the same manner (p. 24). The latter type of ambiguity is created when paintings or sculptures within a painting are depicted in a styleand scale similar to their surroundings, blurring the distinction between what is "real" and what is "represented" in the painting.Savedoff uses some excellent examples in analyzing these ambiguities. And just when the reader begins [End Page 114] to question whether, if there are different ways of achieving ambiguity in paintings of artworks, there must also be different purposes for each, Savedoff addresses precisely this. "In paintings from the Renaissance to Impressionism," she writes, "ambiguity is used to further an ideal of illusionism in art: the artwork is shown as capable of life or at least of being confused with real things" (p. 30). Although this kind of ambiguity may animate representations within the painting, it does so without casting doubt on the status of the "real" things depicted. In contrast, ambiguity used in Postimpressionist paintings were done so for quite a different effect: "to undermine any tendency of the painting toward illusionism and to undercut the status of the 'real' things depicted" (p. 30).Although she critiques the nature and purpose of ambiguity in paintings thoroughly, when Savedoff addresses ambiguity in photography her conclusions are not as well defended. In photography, she writes, "perceptual ambiguity"— that is, the blurring of the distinctions between people and representations — can result from the nature of the medium itself: "the stillness, the flatness, and, in black and white photographs, the limitation of monochrome values" (p. 43). A deliberate choice of angle, framing, and lighting by the photographer can alsoreduce the differences. "Gestural ambiguity" in photography, she continues, can be created when the photographer juxtaposes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:88 Reviews EPISTEMOLOGY OFMODERNISM WILLIAM R. EVERDELL History/ St. Ann'sSchool Brooklyn, NY 11201, USA [email protected] Ann Banfield. The Phantom Table:Woolf,Fry,Russelland the Epistemology of Modernism. Cambridge and New York: Cambridge U.P., 2000. £35.00; US$49.95. In Virginia Woolf's difficult masterpiece, The Waves(1931),each of several separate interior monologues-"streams of consciousness" in the American critical idiom-is separated from the next by an interpolated "Interlude". The interior monologues are assigned co different characters, bur (...) the Interludes are rendered from no perspectiveat all, verymuch like the "Time Passes"chapter of Woolf's earlier and better known novel, Tothe Lighthouse (1927).The passive voice and the demonstrative and indefinite pronotms are essential, removing from the scene not only the characters' points of view, but the author's as well. Numbered among the consequences of the new twentieth-century technique of interior monologue, the Interludes can be accepted today as one more trick of literary "Modernism", but for Woolf it was new, and the task of preventing any of her Interludes from becoming just another report from the rypical "omniscient narrator" of Victorian fiction was one of the most demanding she ever set herself as a writer. Like her friend the Post-Impressionist critic Roger Fry, she wanted to analyze the world outside the self into its smallest sensible elements, then show human selvesasthey formed by accumulating the experience of these myriad, random, discontinuous components, and finally to recombine these components in their two kinds, selvesand sense-able things, into a meaningful whole-a work of art. Rejecting both the idealism of Bradley and the British philosophical generation of the 1890sand the naive positivist materialism coming out of the 1850s, Bertrand Russell eventually settled on an ontology most philosophers call "realist " in that it rejected the view that the world accessible to the senses was no more than a mental construct and considered it naive to assign the origin of subjectivity to matter. The material world was, Russell thought, actually external -"out there". He did think, however,that all we knew of the external world was what wassensed by the sensesand pictured by the mind. He alsoconcluded (in essayslike "The Relation of Sense-data to Physics"written in 1910-17)d1at both that world and what we knew of it was presented in very small parts, and Reviews 89 analyzable down to them, or, in other words, that both ontology and epistemology were atomized. Each mind, with its senses, occupied, he thought, one of an infinite number of occupied and unoccupied "perspectives", each of which Lmiquely focused che "sensibilia"-whatever was perceived in che external world-like a Leibnizian monad. Machemacicallogic, on which Russell set che highest store, would be able, he thought, to bring together perspectives by providing a minimal secof cruchswhich, though abscracc,were objective in che sense chaccheywere noc private and could be agreed to by all. Something similar though rougher mighc be done for chesensibilia in cheworld "ouc chere" by che science of physics. Did Virginia Woolflearn from Bertrand Russell?To a latcer-dayacademic ic sounds too urrerly improbable, for che simple reason (obvious to academics) chat anyone who has made icto the upper levelsof English literature must have chosen cheseparticular heights to scale because the trail was so blessedlyfreeof chosenasry mathematical burrs and logical reazles,and the air so filledwith che pure chatter of French phenomenologisrs, that no hiker would ever have to struggle with analytical philosophy again. Lessmetaphorically, the separation of departments of literature from those of philosophy has come so close to divorce chat few in U.S. English Departments can make head or cail of che graduate thesis that one of Russell's philosophy students wrote on F.H. Bradley, and fewer still can trace the term "objective correlative" used by thac student (who was in fact T. S. Eliot) back to an early work of Husserl. Meanwhile, ic is taken for granted by those in Philosophy that there are no ideas worth discussing in Woolf, or, indeed, in any other novelise,greacthough she may be, Lmlessone is to descend from ontology and epistemology to the foothills of ethics and politics, or worse, aesthetics. (Among... (shrink)

Psience Fiction: The Paranormal in Science Fiction Literature is a book that really needed to be written. In an abundance of hubris I once played with the idea myself (and I was probably not alone in the thought). But now Damien Broderick has done it, and much better than I could have even approximated. Given his background as a science fiction literary critic and author himself, no other writer could be better-equipped. Psience Fiction is exactly the right title to (...) encapsulate Broderick’s chosen topic. As he notes in one passage, his purpose here is to explore “the varied representations of the paranormal in science fiction” (p.68)–though by paranormal he refers neither to ghosts nor mediumship nor UFO-related phenomena, but strictly to “paranormal” as it relates to putative mental powers that transcend the scientifically-presumed, neuro-physical limits of our minds and brains. He refines that still further in noting that what he wants to consider is “...the give and take between the science fiction paranormal and the real-world kind, tested and tallied by psi researchers” (p.5). This book is probably most easily described as a book of book reviews (though a few relevant short stories are also considered). Authors covered run the gamut from Olaf Stapledon, E.E. “Doc” Smith, James Blish and Theodore Sturgeon to Zenna Henderson, John Wyndham, Robert Heinlein, Ann McCaffery, Octavia Butler, and John Brunner, plus many more. For a literary work to be included, it must incorporate some aspect of psi as an integral plot element; a mere mention of extrasensory perception or psychokinesis does not suffice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Martin Steinmann INTRINSIC MERIT AND MULTICULTURALISM O OME proponents of multiculturalism argue as follows: There is no such thing as intrinsic merit. Therefore, the hegemony ofwestern culture in America is not due to its intrinsic merit. Therefore, it is due only to the political and economic power of white Americans of European ancestry, especially males. Therefore, it might yield to a new order in which all cultures represented in (...) America, whatever dieir origin, have equal authority, influence, and status in schools, colleges, and universities, in theaters and concert halls, in museums and galleries, and in libraries. Is this a good argument for multiculturalism? I propose to examine not only its validitybutits assumptions and what impels diese multiculturalists to make it. Is there such a thing as intrinsic merit? A famous and influential argument that there is—W K. Wimsatt and Monroe C. Beardsley's "The Affective Fallacy" (1949)—argues that the merit (or lack of merit) of literature, and by extension the other arts, is intrinsic. Actually—what comes to much the same thing—this essay attacks die belief that merit is extrinsic, in particular that it inheres in effects upon readers. The Affective Fallacy, they claim, "is a confusion between the poem [where poem is synecdoche for work of literature] and its results (what it is and Philosophy and Literature, © 1994, 18: 253-264 254Philosophy and Literature what it does).... It begins by trying to derive die standards of criticism from the psychological effects of the poem and ends in impressionism and relativism." The standards ofcriticism ought to be derived, Wimsatt and Beardsley say, from "cognitive analysis ofparadox, ambiguity, irony, and symbol"—that is, intrinsic features of the poem itself. Are Wimsatt and Beardsley right? I think not. For one tiling, the weight of opinion, of both critics and writers, is against diem. For Aristode, the point of a tragedy was to arouse pity and fear in the audience. For Horace, die point of poetry was to please and instruct readers (dulce et utile). For Dickens, die point of his novels was to make readers laugh and cry. For Henry James, every choice he made as a novelist—of characters, incidents, setting, point ofview—he made widi effects upon readers in mind. Even for Romantic poets, diough die merit of a poem did not lie in its effects upon readers, it did not lie in its intrinsic features either, but in its effects upon the poet himself (for Wordswordi, occasioning "die spontaneous overflow of powerful feelings "). Indeed, not until the advent, in the late thirties, of the school of which Wimsatt and Beardsley were die chief theoreticians—die New Criticism—did critics locate merit in intrinsic features. Critics and writers, of course, often speak of intrinsic features but only, as James does, to relate them to somediing extrinsic. Aristode, for instance, says diat a tragedy can arouse pity and fear only if its hero is a person of middling virtue who undeservedly goes from good fortune to bad in die course of the play. Books of literature are created by humans for humans, and whatever merit (or lack of merit) they may have humans confer upon them. Far from being an intrinsic merit, paradox or ambiguity or irony or symbol or any intrinsic feature of a work is no merit at all unless readers count it as a merit; readers may disagree about whether it is a merit (the relativism thatWimsatt and Beardsley deplore) ; every standard to which diey may appeal to settle disputes is a standard created by humans; and they may have various reasons for counting it as a merit (or a defect). The most common reason, of course, commits the Affective Fallacy: the feature affects readers in a way they find desirable. (As I shall note later, in section III, diere can be other reasons less direcdy related to the effect of the work.) It is not easy for readers (or theorists of literary value) to sayjust what die effect is ofan intrinsic feature or why readers count this effect as desirable or even what feature of the work causes this effect. But, though Wimsatt and Beardsley, in arguing dieir case for the Affective Fallacy, make... (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

How does literature illuminate the way we live? Maurice Natanson, a prominent champion of phenomenology, draws upon this method's unique power to show how fiction can highlight aspects of experience that are normally left unexamined. By exploring the structure of the everyday world, Natanson reveals the "uncanny" that lies at the core of the ordinary. Phenomenology--which involves the questioning of that which we usually take for granted--is for Natanson the essence of philosophy. Drawing upon his philosophical predecessors Edmund Husserl, (...) Alfred Schutz, and Jean-Paul Sartre, Natanson paves his own way with stories and examples that themselves bear witness to how phenomenology occurs in literature. In considering such works as Samuel Beckett's Waiting for Godot, Thomas Mann's The Magic Mountain, and Franz Kafka's The Metamorphosis, Natanson shows how literature opens us to the domain of possibility and how metaphor offers philosophical power when we think about freedom and change. This book, written by one of the twentieth century's leading phenomenologists, will interest students in philosophy and in literature. They will value the work particularly for its clarification of concepts and terms that frequently emerge in the contemporary intellectual climate. (shrink)

Drawing on decades of research on Alexander literature from all over the world, this book is bound to become a medievalist's best companion. It studies Alexander romances from the East and the West in literary form and content.

In lieu of an abstract, here is a brief excerpt of the content:Reply to My CommentatorsDavid CarrierI am immensely thankful to Rika Burnham and Elliott Kai-Kee, Enrique Martínez Celaya, Klaus Ottmann, and Sean Ulmer for their comments on my book. And to Daniel A. Siedell for organizing this mini-symposium, which really is an author's dream. By gently pressing me to think about important issues, these sympathetic commentators have advanced dialogue.When writing Museum Skepticism I became very aware that there are two (...) kinds of literature that discuss museums. There are memoirs of curators or other museum employees, and there are the commentaries by academics, which usually look at museums from the outside. My ambition was to look at this institution in a way that would both be sympathetic to the practical concerns and embody a theoretical point of view. One otherwise sympathetic reviewer complained that I was only looking at the museum from the outside.1 That certainly is correct, but for obvious reasons people who work in museums are unusually unwilling to describe their inner workings. To have a good theory of the museum, you need to be practical. Often, for example, critics complain about the proliferation of shops and restaurants, urge that admission be free, or say that blockbuster shows are destructive and overcrowded. However one judges such moralizing, the museum director who needs to balance the budget can hardly be guided by such reasoning. One can be critical, as I am, about the power of the super-rich in museum life. But in what other way could funding be found? The history of debates about the National Endowment for the Arts (NEA) points to obvious ways in which, in America at least, reliance on public funding poses problems. My goal, then, was to develop a realistic analysis.Sean Ulmer correctly notes that to understand the art in museums, we must consider its prior history. Chinese paintings, Islamic decorations, Maori sculpture, and premodern European art were not made to be displayed in public galleries. And so there are legitimate questions about how to set it alongside modernist art, whose natural home is the art museum. Allowing this much, I am not sure why he thinks it impossible to describe museums in a single book. We need to understand how artifacts with such varied origins can be coherently displayed in one building. Here, then, we get to Ulmer's second concern—museum displays. Recently museums have experimented with thematic displays. The Museum of Modern Art in New York did that before its recent reconstruction; the Tate Modern has such a system; and during summer 2006 the Whitney tried such a plan. I understand the need of museums to experiment, to find new ways to attract visitors to the permanent collection. Still, a straight chronological display has the obvious advantage of presenting that history of art in which, for example, Impressionism leads to Cubism, and then on to Abstract Expressionism. The obvious danger of thematic displays is that they bewilder the larger public. [End Page 22]When I said that museums are top-down institutions, I was thinking of the grander public museums where the function of the trustees is to raise money, either by giving themselves or by networking. These people who provide funding no doubt have their own agendas, but they, in turn, respond to larger economic and political concerns. I would be astonished if the Metropolitan Museum of Art asked Arthur Danto or Leo Steinberg to be a trustee; or, to look closer at hand, if the Carnegie Museum of Art or the Cleveland Museum of Art asked me to play that role. Since we are mere professors, what practical help could we provide? I expect that at smaller museums the situation is different. But here, again, it is important to be realistic. Cleveland's art historians have not had any influence on the rebuilding plan for the Cleveland Museum of Art. Of course I would be flattered if the new director asked for my opinion, but to be honest, I am not sure that I could tell him anything useful. When Ulmer discusses the comparative role of permanent collections and temporary exhibitions, he touches on a very important point. Like him, I... (shrink)

Chapter 14. Andrea Timár engages with literary representations of the experience of perpetrators of dehumanization. Her chapter focuses on perpetrators of dehumanization who do not violate laws of their society (i.e., they are not criminals) but exemplify what Simona Forti, inspired by Hannah Arendt, calls “the normality of evil.” Through the parallel examples of Dezső Kosztolányi’s Anna Édes (1926) and Doris Lessing’s The Grass is Singing (1950), Timár first explores a possible clash between criminals and perpetrators of dehumanization, showing (...) class='Hi'>literature’s exceptional ability to reveal the gap between ethics and law. Second, she examines novels focalized through perpetrators and the difficult narrative empathy they provoke, arguing that only the critical reading of these novels can make one engage with the potential perpetrator in oneself. As case studies, Timár examines Daniel Defoe’s Robinson Crusoe (1719), which may potentially turn its reader into an accomplice in the process of dehumanization, and J.M. Coetzee’s Foe (1986), which puts on critical display the dehumanizing potentials of both aesthetic representation and sympathy as imaginative violence. Third, she reads Jonathan Littell’s The Kindly Ones [Les Bienveillantes, 2006], which can make the reader question, through the polyphony of the voice of its protagonist, the notions of narrative voice and readerly empathy, only to reveal that the difficulty involved in empathizing with perpetrator characters lies not so much in the characters’ being perpetrators, but rather in their being literary characters. Eventually, Timár briefly touches upon the problem of the aesthetic and the comic via Nabokov’s Lolita (1955) to ask whether one can avoid some necessarily dehumanizing aspects of humor. (shrink)

In 1949 Culliton noted that "... religion has something to offer business" (Culliton, 1949, p. 265). While religion definitely does have something to offer business, especially business ethics, it is only recently that empirical research linking religiosity and business ethics has been conducted. Indeed, religiosity affords a background, against which the ethical nature of business, including marketing and consumer behavior, can be interpreted. This article offers a descriptive, rather than normative, perspective in reviewing articles linking religion to business and consumer (...) ethics. The main objective of the article being both to present some of the most significant empirical findings to date and also to encourage researchers to pursue further research in this relatively under researched area. (shrink)

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

Too often, since the 19th century, sensitivity is dismissed as mere “sentimentality” in philosophy and in literature. It is charged that sentimentality is distorting, self-indulgent, self-deceptive. I argue that all of these charges are misplaced or themselves distorted and betray a suspicion of emotions and the tender sentiments that is unwarranted.

Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical studies, we unfold this theory for one (...) such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert. (shrink)

This paper discusses continuity between ancient Pythagoreanism and the pseudo-Pythagorean writings, which began to appear after the end of the Pythagorean school ca. 350 BC. Relying on a combination of temporal, formal and substantial criteria, I divide Pseudopythagorica into three categories: 1) early Hellenistic writings ascribed to Pythagoras and his family members; 2) philosophical treatises written mostly, yet not exclusively, in pseudo-Doric from the turn of the first century BC under the names of real or fictional Pythagoreans; 3) writings attributed (...) to Pythagoras and his relatives that continued to appear in the late Hellenistic and Imperial periods. I will argue that all three categories of pseudepigrapha contain astonishingly little that is authentically Pythagorean. (shrink)

The application of machine learning and artificial intelligence in healthcare domains has received much attention in recent years, yet significant questions remain about how these new tools integrate into frontline user workflow, and how their design will impact implementation. Lack of acceptance among clinicians is a major barrier to the translation of healthcare innovations into clinical practice. In this systematic review, we examine when and how clinicians are consulted about their needs and desires for clinical AI tools. Forty-five articles met (...) criteria for inclusion, of which 24 were considered design studies. The design studies used a variety of methods to solicit and gather user feedback, with interviews, surveys, and user evaluations. Our findings show that tool designers consult clinicians at various but inconsistent points during the design process, and most typically at later stages in the design cycle. We also observed a smaller amount of studies adopting a human-centered approach and where clinician input was solicited throughout the design process. A third of all studies reported on clinician trust in clinical AI algorithms and tools. The surveyed articles did not universally report validation against the “gold standard” of clinical expertise or provide detailed descriptions of the algorithms or computational methods used in their work. To realize the full potential of AI tools within healthcare settings, our review suggests there are opportunities to more thoroughly integrate frontline users’ needs and feedback in the design process. (shrink)

Relationalität und Selbstdiskursivierung in den lebens -- und Sozialwissenschaften -- Selbstreflexion und Relationalität in der literatur.

The aim of this review was to analyse the empirical studies that focus on ethics in nursing care for older people, scoping the need and areas for further study. A search of the MEDLINE and CINAHL databases (earliest to August 2009) was conducted using the the keywords: ethic* and nursing or care or caring and elderly or aged or older. After a four-stage process, 71 empirical articles were included in the review, with informants ranging from elderly people to relatives, caregivers, (...) managers and students in care settings. The review focusses on the concepts, contexts, methods and validity of these studies. Based on the analysis, the reviewed research seems to be fragmented and multifaceted, focussing on selected issues such as autonomy, self-determination and informed consent. No large research programs or research traditions were found so it was not possible to draw any conclusions about suitable methods, study designs or instruments of measurement for use in this research area. (shrink)

In the context of agricultural activity intensification and rural abandonment, neo-rurality has emerged as a back-to-the-land migratory movement led by urban populations seeking alternative ways of life close to nature. Although the initiatives of the new peasantry are diverse, most are land related, such as agriculture and livestock farming. A priori, neorural people undertake agri-food system activities in ways that differ from the conventional model, following the principles of environmental and social sustainability. We conducted a systematic review of the (...) class='Hi'>literature on the neo-rural phenomenon with the main objective of examining how neo-rurality has been found to support agroecological transitions. The corpus of neo-rural studies was analyzed from a social-ecological perspective, and a Multiple Correspondence Analysis (MCA) was conducted to determine whether neo-rural agri-food system activities follow agroecological principles. The results indicate that neo-rural studies is an emerging research field that has received considerable attention in western countries. Diverse conceptualizations and terms have been used to address the phenomenon, but the literature agrees on political and environmental motivations and several barriers faced by neo-rural people. This population and in particular new peasants, are employing a wide variety of agroecological practices and strategies throughout the agri-food system. Overall, neo-rural people have been reported to contribute significantly to agroecological transition. (shrink)

Kristján Kristjánsson's aim in this article is to bury the old saw that dialogue is exclusively a Socratic but not an Aristotelian method of education for moral character. Although the truncated discussion in Aristotle's Nicomachean Ethics of the character development of the young may indicate that it is merely the result of a mindless process of behavioral conditioning, Nancy Sherman has argued convincingly that such a process would never yield the end result that Aristotle deems all-important — a precondition for (...) the ascription of virtue — namely, reason-infused phronesis. Rather than having to rely on impressionistic Aristotelian reconstructions here, Kristjánsson observes, considerable enlightenment can be gleaned by studying Aristotle's account of friendship, especially his account of how character friends reciprocally construct each other's selfhoods through sustained, dialectical engagement. It is clear from this description that ideal character building essentially involves dialogue. If that is correct, however, in the case of character friendship, new light can be shed on other Aristotelian staples of character education, such as role modeling and the use of literature and music, as those will then also, by parity of reasoning, involve sustained use of a dialogical method. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:148 JOURNAL OF THE HISTORY OF PHILOSOPHY 28:1 JANUARY 199o David D. Roberts. BenedettoCroceand the Usesof Historicism. Berkeley and Los Angeles: University of California Press, a987. Pp. xii + 449- NP. This book is a remarkably good survey of Croce's enormous output on the general topics of philosophy, politics, and history. Roberts shows an outstanding mastery not only of Croce's voluminous writings, but of the whole secondary literature (...) about him since the first rebellion of his Italian "followers" in the early years of this century. Roberts's aim is to restore Croce to his proper place in the continuing dialogues and debates about historicism and hermeneutics. So far as one writer can achieve such a goal with one book, he has achieved it; if there are reasons to fear (nevertheless) that his achievement may not have the full effect that he hopes for, they are rooted in Croce's own personality and background, not in any failure on the part of Roberts. "[I]f we are to grasp the dominant concerns of Croce's intellectual life, we must approach him primarily as a Western intellectual who was seeking to address the central challenges facing our culture, not confine him to... his particular Italian, or Neapolitan context.... [O]n the deepest level he would have faced the same challenges had he been reared in The Hague or Philadelphia" (24). The final rhetorical flourish here is one of Roberts's rare tumbles into outright absurdity, for what is (perhaps) true in 1987 was not true in 1887. So we should be glad that the Italian background is never really lost sight of. Roberts's treatment of Croce's intellectual formation is rather impressionistic, but we do always have a vivid image of the mature Don Benedetto, the bourgeois Neapolitan worthy who was made a Senator of the Realm in 191o (a biographical fact that is not mentioned). The one serious fault in Roberts's account of Croce's formation--which is excellent on the influence of Vico and Marx--is his failure to take a properly European view of Hegel. He remains a prisoner of Croce's critique of Hegel, so that he is never able to see clearly how deeply Hegelian Croce was. He sees only the differences, and, as far as "historicism" is concerned, they are largely differences from a straw man. Having said that, almost nothing remains but praise. Croce maintained that philosophy was only the tool-bag of the historian. Roberts, who is an intellectual historian rather than a philosopher, takes Croce at his word, with the results that his book is the first (in English at least) to present Croce's thought in the way that Croce himself saw it. He gives us an insightful review of the "philosophy of the spirit" in about sixty pages, including the development of the concept of"utility" into "vitality" in Croce's last years. Then he embarks on a study of how Croce used his philosophical instruments in the theory and practice of historical and political interpretation. The theory of "absolute historicism" (and of how it can be "absolutely" true) is followed by "the religion of history." This was a kind of historicized Buddhism, in my view, until Croce startled everyone, in a942, by announcing that "we cannot but call ourselves Christians"; but it is only the comparison of Croce's historicism with Buddhism that enables us to see it as a "religion" at all. Roberts does not say this, but he does show clearly how far removed from any faith-religion Croce was. After this comes a long chapter on "Historicist Politics." I think this is the best thing in the book, because Roberts not only clearly displays the near-bankruptcy of Croce's BOOK REVIEWS ~49 actual politics as President of the Italian Liberal Party from 1944 to i947, but demonstrates through a study of Piero Gobetti that neither Croce's own conservatism nor his doctrinal rigidity was a necessary corollary of "absolute historicism" in politics. As the main intellectual beacon of opposition to Fascism during its twenty years of power, Croce enjoyed enormous prestige in 1944; but as Don Benedetto, with his great family estates... (shrink)

Introduction: Adorno and Barthes on the question of the right (di)stance -- The pathos of distances in "a world of banished people" -- George Orwell's critique of sincerity and the obligation of tactlessness -- The inferno of saviors: notes in the margin of Elias Canetti's lifework -- A socialism of distances, or on the difficulties of wise love: Iris Murdoch's secular community -- "The world in me": the distantiality of everyday life -- In search of a whole self: Benjamin's childhood (...) fragments -- Annie Ernaux's diaries of the outside -- Gunter Grass's century -- Damon Galgut on emptying oneself for sleep -- Conclusion. (shrink)

The problem of violence in schools causes considerable concern in many countries of the world and in our country as well because of the enormous psychological and physical consequences it brings to children and young people. In literature, research can be found even forty years ago, when this phenomenon was defined as aggressive, deliberate, and persistent action carried out by a group or individual against a victim who cannot be easily defended. More recently, violence is not only considered to (...) be physical, but also violence can also be experiences through social networks, which gives us an additional incentive for its further study, all in order to stand in the way of violence and reduce it as much as possible. This paper studies the theoretical and empirical knowledge about some significant factors that contribute to the occurrence of peer violence, such as: family, school environment and personality characteristics of the bully and the victim. At the end, an overview of effective violence prevention programs from different countries in the world is given. (shrink)

The article explores the possibilities of literary studies as a hermeneutics of the social by focusing on intermediations of literary and social studies in the present and in the early days of the DVjs, i.e. in the 1920s. It first investigates, how sociology interrogates itself by reading detective stories (Kracauer, Boltanski). As a testing ground for the productivity of the proposed orientation the article then takes a closer look at German crime fiction of the interwar years (Perutz, Jacques) and demonstrates (...) how these novels problematize the workings of a social imaginary in the »time of monsters«. (shrink)

Is it possible for postmodernism to offer viable, coherent accounts of ethics? Or are our social and intellectual worlds too fragmented for any broad consensus about the moral life? These issues have emerged as some of the most contentious in literary and philosophical studies. In Renegotiating Ethics in Literature, Philosophy, and Theory a distinguished international gathering of philosophers and literary scholars address the reconceptualisations involved in this 'turn towards ethics'. An important feature of this has been a renewed interest (...) in the literary text as a focus for the exploration of ethical issues. Exponents of this trend include Charles Taylor, Bernard Williams, Iris Murdoch, Cora Diamond, Richard Rorty and Martha Nussbaum, the latter a contributor and a key figure in this volume. This book assesses the significance of this development for ethical and literary theory and attempts to articulate an alternative postmodern account of ethics which does not rely on earlier appeals to universal truths. (shrink)

This paper examines the translation of literary terminology as cultural sign in the selected versions of the History of Chinese Literature in the Anglophone world. It argues that classical Chinese literary terminology with its rich connotations and strong prescriptiveness as „symbol‟ in semiotics, holds great difficulty for translators and scholars. Its inherent social and cultural elements in determining the meaning of these terms cannot be transferred across cultures, thus causing problems such as „neutralization‟ either in free or literally translation (...) or transliteration of these terms. The paper points out that an ideal way out for translation of classical Chinese literary terms should be transliteration coupled with proper notes. Although not qualified as translation in the strict sense, transliteration could, in some way, remind the readers of the heterogeneity of the term, thus offsetting the negative effect by the “neutralization” of the term. It could also guarantee the term‟s independency with the ultimate aim to make the term accepted by and integrated into the culture of the new land. (shrink)

The semiotic model that disregards the normative context represented by the protagonist examines how we can distinguish the three conceptions of heroism, namely hero, semi-hero, and anti-hero. What are the methodological criteria whereby we can follow the protagonist in the text from beginning to end? To answer them, this article tries to present a model made up of five stages/criteria which constitute a semiotic model by means of which the connection to heroism can be determined. These are: (1) motivation, (2) (...) will, (3) ability, (4) execution, and (5) outcome. These stages can be logically classified into three categories: 1) Pre-action (the first three stages), 2) Action (the fourth stage), 3) Post-action (the fifth stage). The model proposed here suits all types of narrative and drama and all performance and film production arts. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

This essay examines the depiction of French ragout in eighteenth-century English literature, arguing that the dish reflects social apprehension regarding ideological, cultural, and military conflicts between England and France. This essay first traces a brief history of ragout, along with an overview of the dish’s cultural connotation and complexity, in eighteenth-century English society. It next delves into the concept of eighteenth-century English Francophobia, demonstrating that this sentiment was a mixture of national pride and anxiety amid England’s identity crisis under (...) the potential French cultural threat. Finally, the essay examines ragout in eighteenth-century English literature and identifies the dish as the target of French pretension and cultural invasion. This research highlights the fact that eighteenth-century English authors’ satirical portrait of ragout underscored xenophobic gastronomy and cautioned against a simple interpretation of the dish. The caricature and representation of ragout as a feminized, artificial, and laughable dish reinforces eighteenth-century English writers’ concern for the invasion of foreign culture by emphasizing the contrast between authentic ‛Anglo’ meat consumption and ‛Franco’ sophistication. (shrink)