Yûsuf b. Hussein al-Kirmāstī (d. 900/1494), a figure who lived in the 15th century, studied under scholars of his time such as Khujazāda Muṣliḥuddīn Efendi (d. 893/1488). Kirmāstī was from the district of Kirmāstī (Mustafakemalpaşa) in Bursa. Yûsuf b. Hussein al-Kirmāstī was a qadi (judge) during the reign of Sultan Bâyezid II (1481-1512). Kirmāstī, originally from Kirmāstī (Mustafakemalpaşa), Bursa, established a medrese (theological school) in Istanbul named Kirmâstî. After serving as a lecturer in various madrasahs, he transitioned to the judicial (...) field, carrying out qadi duties in Bursa and Istanbul. His just decisions and courageous stance during his tenure as a qadi earned him the appreciation of Sultan Bâyezid II. Kirmāstī, who had a mosque, a madrasah, and a school in Istanbul, is known to have had an additional school in his hometown of Kirmāstī. He passed away in 900/1494 and was buried next to the school he built in Fatih Mosque. This study aims to reintroduce Kirmāstī to the contemporary academic world from a fresh perspective, considering his proficiency in religious and linguistic sciences of the time, including rhetoric, badiʿ, bayān, uṣūl, fiqh, debate and ʿaqāid. The focus is on this study the stylistic elements of literary technique styles (al-muḥassināt al-maʿnewiyyah) within his specific work titled “al-Mukhtār fi-l-maʿānī wa-l-bayān”. Through this exploration, the significant Ottoman scholar and his works are presented, followed by an analysis of the literary technique styles in “al-Mukhtār fi-l-maʿānī wa-l-bayān” bringing attention to interested parties. (shrink)

That the story of Cupid and Psyche in Apuleius' Metamorphoses is a version of a common world-wide folk-tale has long been recognized. Scholarly debate has concentrated on the conclusions to be drawn from this with regard to the significance of the story—mythological, religious, allegorical, and so on. With the additional information provided by Swahn's comprehensive monograph on the subject an attempt can now be made to study some of the aspects of literary technique involved in the adaptation of (...) the folk-tale. In what follows I have tried to avoid making any assumptions about a possible literary source of Apuleius' tale. I am concerned with the ways in which the literary version which we possess modifies the folk material, and not with the author of this modification. (shrink)

That the story of Cupid and Psyche in Apuleius' Metamorphoses is a version of a common world-wide folk-tale has long been recognized. Scholarly debate has concentrated on the conclusions to be drawn from this with regard to the significance of the story—mythological, religious, allegorical, and so on. With the additional information provided by Swahn's comprehensive monograph on the subject an attempt can now be made to study some of the aspects of literary technique involved in the adaptation of (...) the folk-tale. In what follows I have tried to avoid making any assumptions about a possible literary source of Apuleius' tale. I am concerned with the ways in which the literary version which we possess modifies the folk material, and not with the author of this modification. (shrink)

Literary hermeneutics studies the problem of interpreting the meanings of an artistic text, considers it at the intersection of a number of philological fields and thus creates new criteria for philological/critical approach to an artistic text. The necessity that gave rise to literary hermeneutics as a field of philology was to reveal the depth of meanings of the artistic text. It also explains the aesthetic convergence and divergence between classical and modern literary texts, noting the points of (...) intersection of both. The modern artistic text does not arise on dry land, although it originates from the soul of the artist composing it, it is linked to tradition, it reflects a shared spiritual communion by visiting the past, specifically its past. It is clear that every poet who has traveled a certain creative path has his own definition of poetry. In forming this definition (the concept of poetry-!), the poet acts from his own experience and writes more with the intention handed down by tradition. Your own emotion can merge with, modify, or negate the thought of hundreds of years in an artistic text, and as a result, the layer of meaning in artistic texts expands to encompass the whole world. (shrink)

Acknowledging the powerful impact that Plato's dialogues have had on readers, Jill Gordon shows how the literary techniques Plato used function philosophically to engage readers in doing philosophy and attracting them toward the philosophical life. The picture of philosophical activity emerging from the dialogues, as thus interpreted, is a complex process involving vision, insight, and emotion basic to the human condition rather than a resort to pure reason as an escape from it. Since the literary features of Plato's (...) writing are what draw the reader into philosophy, the book becomes an argument for the union of philosophy and literature—and against their disciplinary bifurcation—in the dialogues. Gordon construes the relationship of Plato's text to its audience as an analogue of Socrates' relationship with his interlocutors in the dialogues, seeing both as fundamentally dialectic. On this insight she builds her detailed analysis of specific literary devices in chapters on dramatic form, character development, irony, and image-making. In this way Gordon views Plato as not at all the enemy of the poets and image-makers that previous interpreters have depicted. Rather, Gordon concludes that Plato understands the power of words and images quite well. Since they, and not logico-deductive argumentation, are the appropriate means for engaging human beings, he uses them to great effect and with a sensitive understanding of human psychology, wary of their possible corrupting influences but ultimately willing to harness their power for philosophical ends. (shrink)

Modern literary theory has opened up a variety of new approaches to reading texts of all kinds, however these have been applied mainly to works of prose fiction. This volume contains a collection of essays which attempts to apply these theoretical techniques to works of poetry.

Angus Fletcher pitches his book to general readers. Though it consists of literary criticism, it is designed as a psychological self-help manual-literature as therapy. Fletcher's thera­peutic program is presented as an alternative to the kind of literary Darwinism that iden­tifies human nature as the basis for literature. He acknowledges the existence of human nature but aims at transcending it by promoting an Aquarian ethos of harmony and un­derstanding. He has some gifts of style, but the dominant voice in (...) his stylistic blend is that of the shill hawking a patent medicine. He presents himself as a modern sage who reveals an ancient but long-lost technique for using literature to boost happiness and well-being. Each of his 25 chapters identifies a distinct literary technique and uses popularized neuro­science to describe its supposedly beneficial psychological effects. Fletcher’s chains of rea­soning are habitually tenuous, and his exposition is littered with factual errors that betray ignorance of the books, genres, and periods he discusses. Despite its shortcomings, Fletch­er’s book has received encomiums from prestigious researchers, including the psychologist Martin Seligman and the neuroscientist Antonio Damasio. In evaluating Fletcher’s rhetor­ical style, analytic categories, Aquarian ethos, historical self-narrative, pattern of reasoning, and literary scholarship, this review essay reaches a more negative judgment about the value of his book. As an alternative to Fletcher’s book, I recommend a few evolutionary literary works for general readers. (shrink)

How Literary Worlds Are Shaped studies a wide variety of literature across cultures and ages. The main aim is to show that literature all over the world has for millennia employed an array of related themes and techniques. By its broad scope and detailed analysis, this volume offers the first extensive comparative account of the makings of literary worlds.

The purpose of this study is to offer a brief biography of Mr. M.H. Panhwar and Dr. Nabi Bux Khan Baloch, as well as their work in Sindhological studies along with a brief description of their literary differences on the origin of Sindhi language and history. A systematic literature review methodology was used to explore the contribution and contradiction of both the scholars. The study found that both the scholars were renowned researchers who worked in the fields of history, (...) archaeology, sociology, literature, and language. Both were up-to-dated academics, but their scholarly interests in history, archaeology, language, and literature were diametrically opposed. The study revealed that M.H. Panhwar was a rigorous researcher who conducted studies using scientific techniques and with the assistance of archaeological and geographical evidence. The study further explored that Dr. N. A. Baloch was a folklorist, educationist and extensive writer whose ideological hypotheses were primarily based on mythology and preserved folk literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 80-97 [Access article in PDF] Literary Truth as Dreamlike Expression in Foucault's and Borges's "Chinese Encyclopedia" Robert Wicks ALTHOUGH THE TOPIC REMAINS MOSTLY unexplored, Michel Foucault had an aesthetic and intellectual attraction towards writers and artists in the Spanish-speaking tradition. For example, at the conclusion of his Histoire de la folie (Madness and Civilization, 1961)—a book which brought him extensive intellectual recognition in (...) France—Foucault drew his readers' attention to José de Goya y Lucientes's (1746-1828) well-known etching, El Sueño de la Razón Produce Monstruos (The Sleep of Reason Brings Forth Monsters, Plate 43 of Los Caprichos, 1797). In Foucault's estimation, by revealing a "night which is doubtless that of classical unreason," Goya's work represented a socially removed condition within which people encounter "what is most solitary" and experience what is "deepest" within themselves. With his reference to Goya's imagery, Foucault illustrated a major theme of his history of madness, namely, how people referred to as "mentally ill" experienced a gradual, physical exclusion from participation in public society, and how they were eventually isolated in a more frightening way: within their physical confinement, they were subject to techniques of psychological and spiritual alienation that reduced them to a condition of utter solitude.In a comparable, if not more central manner, Foucault used as thematic motifs for the preface, first and second chapters of a book for which he is widely known, Les Mots et les choses (The Order of Things, 1966), the work of three major writers and artists from the Spanish-speaking world: Jorges Luis Borges (1899-1986), Diego Velázquez (1599-1660), and Miguel de Cervantes (1547-1616). Among these references, the most popular is probably Foucault's discussion of [End Page 80] Velázquez's Las Meninas—a painting which captured Foucault's interest as a perfect exemplar of its time period—and which inspired him to devote the entire first chapter of his book to decoding the mechanics of its perspectival arrangement. And within the community of those who read, write and discuss the interrelationship between Foucault's thought, literary theory and the contemporary emphasis upon the multivocal quality of textual meaning, Foucault's citation of an excerpt from a short story by Borges—the subject of this essay—is also familiar. Foucault introduced his 1966 book, The Order of Things, with the following words: This book first arose out of a passage in Borges, out of the laughter that shattered, as I read the passage, all the familiar landmarks of my thought—our thought, the thought that bears the stamp of our age and our geography—breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other. This passage quotes a "certain Chinese encyclopedia" in which it is written that "animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) suckling pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies." In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that. 1The short story from which Foucault extracted the above, quasi-cubistic, excerpt was published in Borges's 1952 collection, Otras Inquisiciones (Other Inquisitions), and is entitled, "The Analytical Language of John Wilkins." Although this story's entirety is rarely surveyed in discussions of Foucault, appreciating its broader contents helps illuminate why Foucault began The Order of Things with this entertaining and bizarre segment. Borges's original... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Literary Method of Urban Design: Design Fictions Using FictionAlan Marshall (bio)For students of design the world over, there’s usually nowhere near enough time in the school year to build a prototype of each and every single innovative idea that pops into one’s head—let alone to test them all in the social world or the marketplace. To speedily explore as many innovations as possible, students are sometimes encouraged (...) to follow an alternative pathway, to create “design fiction.” Intended to exist only on paper or the screen, a “design fiction” is not really destined for the real world.1 As a learning technique, it allows for a significant degree of technical experimentation as well as the imagining of new social arrangements. Many design experts see this “free-for-all” method as rather annoying and untrustworthy—more art than science. Yet for the most creative students, it serves to liberate them from the various constraints of their discipline. My own peculiar process of “design fiction” is what I call the “Literary Method of Urban Design.” I will come to this method in a moment.Last year, I was invited by the Bauhaus Museum in Weimar, Germany, to contribute artworks for a special exhibition entitled “Ways to Utopia: Life Between Desire and Crisis” (running from April 1, 2023—January 29, 2024).2 [End Page 560] This exhibition is a celebration of the one-hundredth anniversary of the Bauhaus’s first architectural product: a modern suburban family home in the city of Weimar called the Haus Am Horn. Built in 1923 the Haus Am Horn ushered in the Bauhaus style, a streamlined functional elegance presented in clean, bright, hopeful hues.3 Beyond just style, though, the house was proffered up in utopian terms. Its Bauhaus creators suggested that such a home could be mass-produced on an industrial scale cheaply and efficiently to provide elegant living to every single family in Europe, be they rich or poor. In its first iteration, the Staatliches Bauhaus was a high-spirited, playful, future-oriented, and socially aware fine arts and architecture school that ran from 1919 to 1933 in Weimar, then Dessau, then Berlin. However, its liberalism and experimentation away from traditional teaching and practice invited scorn from conservatives and from the Nazi Party. The former took the Bauhaus school’s funding away; the latter shuttered it for good. Despite the closure of the building, the Bauhaus style transformed design across the world as former teachers and ex-students applied Bauhaus principles and approaches in new settings. The old Bauhaus school has since been resurrected, with the opening of Bauhaus Universität Weimar, and the Bauhaus Museum, with locations in Weimar and Dessau.A few years back, Skyhorse Publishers published a book of my own “design fictions” depicting real-world cities set far in the future, each presented in utopian terms.4 Because of this, the Bauhaus approached me to help them celebrate their centennial anniversary by displaying my utopian urban designs in their museum. However, to convey the centenary theme of the exhibition, they requested exactly 100 different artworks of 100 different urban utopias portraying 100 different real-world cities set 100 years in the future. At the time, I had only produced eighty such works over the preceding decade. However, since the exhibition was to include masterworks by Bauhaus design greats like George Muche and Alma Buscher, I did not want to fall short. To make the “century” in quick time, I pushed ahead by deploying my own peculiar “Literary Method of Urban Design.”5 This method comprises three steps:1. Select a city.2. Select a literary work.3. Design the future of the selected city, based upon the themes of the selected literary work.[End Page 561] Click for larger view View full resolutionFigure 1.Future London. By the author, inspired by More’s Utopia (1516).When I used this method for the first time with Thomas More’s Utopia (1516) as the literary base, a curator at the Museum of London was tickled enough to include it in an exhibition about the future of London.6Since then, the utopian spark has flowed through many of... (shrink)

The Homeric Scholia are not the most obvious source for literary criticism in the modern sense. And yet if one takes the trouble to read through them one will find many valuable observations about poetic technique and poetic qualities. Nowadays we tend to emphasize different aspects from those which preoccupied ancient critics, but that may be a good reason for looking again at what they have to say.

Authors and printers together created the New Book of Nature—the printed literature of science—in early modern Europe. Careful attention has been given in recent years to the development of literary and rhetorical techniques in science. This article proposes that these developments were linked to printing technology and the typographic culture that produced the early printed book of science. We focus on several cases in which the roles of author and printer-publisher were joined and thereby highlight connections between knowledge production (...) and reproduction during the Scientific Revolution. Examples include Regiomontanus, Tycho Brake, Galileo, William Leybourn, Joseph Moxon, and the collective practices and privileges of the Royal Society of London and the Paris Academy of Sciences. (shrink)

As two different art categories, literature and painting use temporal words and spatial images respectively to convey information and narrative. In addition to the pursuit of visual decoration, the paintings in books and periodicals in the period of the Republic of China were widely and profoundly influenced by the literature of the same period from the aspects of the style of expression, the theme of content and the creative techniques, thus breaking through the limitations of their own media and achieving (...) narrative effects like literary. The reflection of literary thoughts and trends in theme, the translation of classical novels in content and the use of literary techniques such as metaphor, synaesthesia and “Bixing” in the expression techniques that further highlighted the functional value, aesthetic value, and historical value of the images. In the visual information age, only by maintaining the characteristics of their own media and absorbing the narrative advantages of other artistic media, can images break through the limitation of plane static space and achieve a narrative effect with more artistic appeal and ideological and cultural depth. (shrink)

The present study aims to reveal how evaluative meanings shape the depiction of Ukrainian emigration and women emigrants in Ukrainian literature of the early 2000s by employing Appraisal Theory developed within the framework of Systemic Functional Linguistics and subjecting excerpts from the following five novels to an in-depth linguistic analysis: Usi dorohy vedut’ do Rymu by Olesia Halych, Shliub iz kukhlem Pil’zens’koho pyva by Lesia Stepovychka, Ia znaiu, shcho ty znaiesh, shcho ia znaiu by Irena Rozdobud’ko, Hastarbaiterky by Natalka Doliak, (...) and Korotka istoriia traktoriv po-ukraiins’ky by Marina Lewycka. The authors employ various grammatical and lexical items to communicate their assessments of the emigrant women characters and the phenomenon of emigration from Ukraine. Appraisal Theory allows us to identify such linguistic realisations of evaluations and interpret authors’ attitudinal positions voiced or implied in text. This research is significant as the first study of its kind using Appraisal Theory to analyse literary texts written in Ukrainian thus expanding the theory’s reach and relevance. Additionally, employing linguistic techniques when assessing the depiction of women’s emigration and its agents enriches an analysis by providing a detailed and balanced perspective. The findings of this research contribute to the fields of literary studies, linguistics, and migration studies. (shrink)

Bergson's legacy to literature was nothing short of transformative. His theories of duration, memory, intuition, the élan vital, and comedy inspired a wide range of vital literary innovations. Techniques essential to modern literature—stream of consciousness, imagistic precision, time-shift, plotlessness, multiple perspective—can be traced to Bergson, and Bergsonian tendencies—his focus on subjective consciousness, interest in novelty, and critique of materialism—yet determine literature written today. But what made Bergson such a powerful influence on such a diverse array of writers was his (...) theory of the artist: throughout his work, Bergson honors aesthetic insight and grants the artist authority over discoveries central to his philosophy. Writers were indeed inspired by Bergson's theories of duration, memory, and intuition, but they were truly galvanized to pursue Bersgonian ends by the power promised in his account of the artist's relationship to reality. Any account of Bergson's literary influence should recognize this distinction. Moreover, we should recognize that this will to power made a significant difference to the way writers interpreted Bergson's theories—especially the theory of time. Bergson's account of duration was transformative not just because it inspired writers to try for new approaches to the representation of time but because it encouraged them to think that they, like Bergson himself, could be time's prophets. (shrink)

Seneca stands apart from other philosophers of Greece and Rome not only for his interest in practical ethics, but also for the beauty and liveliness of his writing. These twelve in-depth essays take up a series of interrelated topics in his works, from his relation to Stoicism, Epicureanism, and other schools of thought; to the psychology of emotion and action and the management of anger and grief; to letter-writing, gift-giving, friendship, and kindness; to Seneca's innovative use of genre, style, and (...) humor. Recalling Socrates's critique of philosophical writing in Plato's Phaedrus, this volume gives particular attention to Seneca's ideas about the techniques of reading, writing, and study that make philosophy beneficial to the individual and to society. Clear explanations and careful translations make the volume accessible to a wide range of readers. (shrink)

This expository essay relies on the views of scholars writing about Atlas Shrugged to make a case that it is a highly integrated work of imaginative literature. The article focuses on the ways in which integration is manifested in Atlas Shrugged. Part 1 examines the philosophical structure of the novel. Part 2 addresses literary structure. This is followed by a discussion of Rand's techniques of characterization. An analysis of the speeches and the theme of mind-body integration concludes the discussion.

At several places in this paper we have made use of a well-known rhetorical device: an argument was made; a character —dubbed “fictional reader” — was then evoked who voiced some objections against that particular argument; and finally, we answered those objections, thus bringing to a close, at least temporarily, our argument. The use of this device raises a question: “How is the presence of the ‘fictional reader” to be understood?” Is it a “mere” rhetorical tool, or does this character (...) designate some particular target? For instance, depending on the context, it could be seen as aimed at different straw men: traditionally minded sociologists, Whiggish historians, well-intentioned philosophers of science. Actually, none of these characters is behind the “fictional reader”. Rather, it refers, potentially, to any of the scientific actors (Milstein, Schwaber, Koprowski, Cohn, and so on) who inhabit our set of narratives. In other words, the “fictional reader” is an icon for the “native” reader/writer who simultaneously produces and questions the products of that particular literary activity known as scientific texts, by explicitly and implicitly raising the issue of the distinction between fact and technique.By following actors in their disputes about the novelty of K & M's contribution, it became apparent that it is not exactly clear which of the different elements of “hybridoma technology” should be regarded as “novel.” Was it the use of the P3 myeloma line? Was it the theoretical framework related to the notion of allelic exclusion? Was it ...? In each and every case, arguments can be made for or against the existence of a certain continuity or discontinuity with previous work. And in each case, the determination of novelty, as translated through the continuity/discontinuity issue, appeared to be hanging on the previous attribution of an epistemological status to the object that had allegedly been discovered: was it a fact or a technique?If one focuses on the relatively narrow network of immunogenetics, it could be argued that within that particular evidential context a series of “facts” had been established which, when transferred to other fields, such as the virological research being pursued in Koprowski's institute, were translated into a technique. However, as we have seen, even from an immunogenetic point of view the production of monoclonal antibodies can be viewed as being simultaneously a fact and a technique to establish that fact. Not only, as he himself noted,139 was Milstein not seeking to develop a technique for the production of monoclonal antibodies when the original experiments were carried out, but the significance later imputed to those experiments was not immediately attributed to them. The paper was seen as one among other papers that used cell fusion techniques to dissect the genetic control of antibody diversity. Distinctions that now appear crucial (e.g.: were the fusion partners two myelomas or a myeloma and a spleen cell?) were easily overlooked. At some point, around 1977, the production of monoclonal antibodies became a goal in itself, no longer linked to the initial immunogenetic network. The transformation of [MILSTEIN 75] into the foundational event of “hybridoma technology” was thus achieved. This transformation did not flow naturally from the original experiments. Rather, it involved specific investments which mobilized the activity of a large number of other scientific and industrial actors.140A tentative generalization can be deduced from our case study. The dichotomy between fact and technique that underlines much of contemporary science studies seem to be fundamentally misconceived, insofar as the determination of what counts as a fact and what counts as a technique is not possible on a priori grounds. Historians and sociologists of science are confronted with a field of heterogeneous interventions where particular pieces of work are constituted as discrete entities and simultaneously attributed a technical or a factual identity. “Novelty” and “innovation” are precisely the result of such polymorphic attributional processes. (shrink)

Focusing on Correspondence from the Double-Cassia Studio (Shuanggui xuan chidu 雙桂軒尺牘), a collection of letters by a gentlewoman named Ding Shanyi 丁善儀 (1799–after 1861), this paper examines how elite women in mid-nine- teenth-century China applied epistolary conventions in their social life. Com- pared to other literary collections of individual women in late imperial China, Ding’s letter collection is exceptional in recording the life of its author through the epistolary genre and in revealing the sociopolitical dynamics that underlay elite women’s (...) epistolary gentility. Ding’s letters are indicative of the noticeable concerns shared by gentlewomen in mid-nineteenth-century China and provide specific contexts for understanding some of the epistolary techniques used by lit- erary women to facilitate social networking. This paper uncovers Ding’s life and explores three major themes in her epistolary collection: her responses to crises, concerns about health, and cultivation of friendship. Ding’s letters show how elite women evinced sophistication and erudition in their epistolary composition, which was an important way for them to express themselves and demonstrate their mas- tery of language and rhetorical tradition. (shrink)

This book treats Boethius' Consolation of Philosophy as a work of imaginative literature, and applies modern techniques of criticism to his writings. The author's central purpose is to demonstrate the methodological and thematic coherence of The Consolation of Philosophy. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in (...) durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Post-colonialism and orientalism have inspired literary scholars to study various aspects of literature and literary translation in the post-colonial era. One of the implications of post-colonialism for literature as a discipline is the idea of cannibalism and cultural manipulation. This corpus-based study aims to analyze the notions of “cultural manipulation” or “cannibalism” in the Persian translation of Haji Baba by Mirza Habib Isfahani, to explore the translator’s strategy, as an intercultural mediator, in modulating the source novel’s colonial stance (...) and adapting it to the religious, literary and cultural tastes of the Iranians. Our findings reveal that two main techniques—of omission and euphemism—have been applied in rendering the novel into Persian. Using these techniques, the translator has attempted to challenge the imperial stance of the main writer and come up with a version of the source novel which is much less insulting to Iranians’ cultural values. That is why this translation has been widely received as a literary masterpiece in Persian literature. One implication is that it might be claimed that cannibalism and cultural manipulation can be used to explain the trend of manipulating western literature in countries which have never been colonized, but that have suffered from the colonial stance of colonial writers. (shrink)

Jacques Ellul is best known for his The Technological Society (1954), which outlines a sociological treatment of Technique; that is, the total technical phenomenon including but extending far beyond machines. Lesser known are Ellul’s theological works, though these relate plainly to the sociological. Of particular relevance to Technique is his theological treatment of civilisation in The Meaning of the City (1970). These two texts stand alone and yet, read together, are mutually illuminating. The present paper will follow this (...) light from the ancient City to the Technique of modernity. This will entail first a focus on four Scriptural cities: Enoch, Resen, Babel, Nineveh. The way will then proceed via a literary route, through Cormac McCarthy’s Blood Meridian, in which the abstractions here discussed are rendered palpable as flesh and blood. This detour will attend to those aspects of war and scalp-hunting which are central to McCarthy’s text, especially in light of the epistemic enterprise of one of modern literature’s most memorable characters: Judge Holden. The relation between the City and Technique will be followed by tracing the metaphysics of inscription which is a corollary to the project of epistemic legibility that underpins the movement of Technique. This enterprise will be understood as a confluence of Babel and Nineveh, a spiritual war that seeks to exclude God by enfolding the totality of existence into a humanly-determined order. The relation between the city, this process of inscription, and the nature of Technique will then be discussed. (shrink)

Oratory is an art based on words. Therefore, it can be said that rhetoric exists along with the history of humanity. The art of oratory is one of the most important tools used by genius personalities who influence people with their ideas in the world, while conveying their messages. Oratory develops more in nations where freedom of opinion exists. In places where there is freedom of thought, people convey their messages directly to their addressees without any worries. When the Prophet (...) Muhammad was appointed as a prophet, he aimed to explain the orders he received from Allah to people in a simple and understandable way. Although the environment he lived in was not composed of people who tolerated freedom of thought, In order to achieve his goal, the Prophet went to the direction of conveying the divine message to people by using the means at hand and the art of oratory with great skill. Hz. Each speech that the Prophet made while explaining the religion of Islam to people is called a sermon, and each of these sermons is like a text with high literary value. One of the sermons he delivered in a place where large groups of people were present is his speech, which is known as the Farewell Sermon and has a high literary value. In this study, the said sermon was analyzed in the context of oratory technique. The study consists of an introduction and two parts. In the introduction, the history of oratory was briefly mentioned, in the first part, the oratory technique was discussed in terms of theory, and in the second part, After briefly mentioning the prophet's oratorical aspect, an analysis of how he performed this feature in the Farewell Sermon was made. While doing our work in this field, ancient sources written in the field of Arabic literature and works written on the subject in the modern period were used. (shrink)

This study represents a comparison between two radical gestures of literary self-reflexivity: romantic irony and postmodernist metafiction. It examines the impact of early German romantic theory and its central concept of irony on German and English romantic narrative fiction and relates the same to postmodernist self-reflexive novels, including its British and American variants. A primary objective of this comparison is to account for the radical skepticism that postmodernist metafiction voices with respect to the paramount philosophical question of truth and (...) reality. The immanent tension between an absolute idealistic and a radically skeptic position which romantic irony articulates and enacts is conceived of as an important and instructive link to the understanding of postmodernism. (shrink)

Hans-Georg Gadamer, the major proponent of philosophical hermeneutics, reveals himself here as a highly sensitive reader and critic of the German literary tradition. This is not the work of a specialist as narrowly defined in the typical literary study. Although he is a master of the techniques of criticism, Gadamer always sees the study of literature as a fundamentally human activity where human beings, generation after generation, pose their questions to an encroaching darkness that threatens to rob them (...) of their confidence in the meaning of life and death. Never pedantic or antiquarian, these studies show such literary giants of the German past as Goethe and Hölderlin as our contemporaries. Gadamer demonstrates his ability to achieve the creative interplay of literature and philosophy which, in isolation, easily degenerate into sterile academic games. Typical of this dialogue are essays on Rainer Maria Rilke, including an examination of a problem of punctuation in one of his poems. What would be, in less capable hands, one more solution to a literary problem, turns out to be one of Gadamer's creative approaches to the mystery of man's relation to time and death. (shrink)

Taking as a starting point a crucial passage of Aristotle’s Poetics where poetical technique is declared to be different from all other disciplines in human knowledge, I try to determine in what sense and up to what point poetry can be seen as an autonomous or sui generis creative activity. On this path, I come across the so-called “likely and necessary” rule mentioned many times in Aristotle’s essay, which might be seen as a limitation of the poet’s literary (...) freedom. I then endeavour to show that this rule of consistency does not preclude the many means by which the poet can astonish his or her audience, bring them into error, introduce exaggerations and embellishments on the one hand, have the characters change their conduct along the way, etc. For Aristotle, the poetic art—and artistic activities in general—is concerned not with what in fact is or what should be, but simply with what might be. Accordingly, one can see him as historically the very first theorist fiction, not only because he states that poetry relates freely to the possible, but also because he explains why poetry is justified in doing so. (shrink)

It is not possible to face a text and announce "I shall now talk about character" in the same way that one might say "I shall now talk about plot" or "metaphor." For several reasons—not least of which is the absence of a thoughtful critical tradition—character is much more difficult to talk about than most other literary concepts. Most of what has been written on the subject of character, whether in recent years or in the distant past, can be (...) seen to come under one of four possible headings. I do not think of these classifications as being mutually exclusive, although the emphasis upon one aspect of the problem of character probably tends to pull one towards a definite position. Briefly, these positions are: that characters are products of the author's mind—memories, encapsulations of his experience or else split-off slivers of his mind or self; that characters are functions of the text in which they appear—embodiments of theme and idea—to be considered much as tokens, pieces, or counters in a game; that characters are entirely artificial, constructs to be analyzed in terms of the compositional techniques that have gone into their making; that characters are, for the purposes of critical reading, to be considered as if they were actual persons, and the emphasis in criticism—its sole business, in fact—to discuss the response they engender in an intelligent reader. Rawdon Wilson, associate professor of English at the University of Alberta, has written widely on English and Spanish literature. His previous contribution to Critical Inquiry, "On Character: A Reply to Martin Price," appeared in the Autumn 1975 issue. The present essay was originally presented in an earlier form at the University of Melbourne and at the University of Alberta. (shrink)

The subject of this study is Poetry in Arabs: Cultural Characteristics and Financial Supporters of the Ancient Literary Genre. The problem of this study is to question whether poetry can be evaluated from a cultural point of view in Arabs and a cute lifestyle, aesthetic, symbolic and semantic dimension. In this article, not only Arabic poetry is evaluated in terms of culture; the cultural dynamics that enable the development of poetry are also emphasized. There have been great developments in (...) social studies in the modern period. New sciences such as sociology, anthropology, archeology and cultural history were formed. Among these sciences, sociology primarily focused on Western societies, while anthropology investigated non-Western societies. These sciences have studied human diversity in ancient societies and peoples. As a result of these studies, a lot of data has been collected about the cultures of existing and ancient societies; The history of humanity has been tried to be understood and its future has been tried to be predicted. However, the poetry of the Arabs, one of the ancient societies, is known by everyone, and while the Arabs are an advanced society in poetry, the cultural aspect of poetry has not been adequately evaluated. Recent studies in this field are a repetition of the past as a method. These studies are certainly important, but as in the past, Arabic poetry is discussed in the context of history, content, form, subject and poets with the beginning date of poetry and the fairs where poetry is performed are emphasized. However, it is time to consider Arabic poetry around the cultural corpus, which is considered important today, with the dynamics of culture and cultural perspective. Therefore, in this study, ancient Arabic poetry has been evaluated in terms of culture. In this study, document analysis, one of the qualitative method techniques, was used; In addition to the works related to Arabic literature, some cultural and cultural history books were consulted. (shrink)

_A groundbreaking study of the development of form in eighteenth-century aesthetics_ In this original work, Abigail Zitin proposes a new history of the development of form as a concept in and for aesthetics. Her account substitutes women and artisans for the proverbial man of taste, asserting them as central figures in the rise of aesthetics as a field of philosophical inquiry in eighteenth-century Europe. She shows how the idea of formal abstraction so central to conceptions of beauty in this period (...) emerges from the way practitioners think about craft and skill across the domestic, industrial, and so-called high arts. Zitin elegantly maps the complex connections among aesthetics, form, and formalism, drawing out the understated presence of practice in the writings of major eighteenth-century thinkers including Locke, Addison, Burke, and Kant. This new take on an old story ultimately challenges readers to reconsider form and why it matters. (shrink)

Hans-Georg Gadamer, the major proponent of philosophical hermeneutics, reveals himself here as a highly sensitive reader and critic of the German literary tradition. This is not the work of a specialist as narrowly defined in the typical literary study. Although he is a master of the techniques of criticism, Gadamer always sees the study of literature as a fundamentally human activity where human beings, generation after generation, pose their questions to an encroaching darkness that threatens to rob them (...) of their confidence in the meaning of life and death. Never pedantic or antiquarian, these studies show such literary giants of the German past as Goethe and Hölderlin as our contemporaries. Gadamer demonstrates his ability to achieve the creative interplay of literature and philosophy which, in isolation, easily degenerate into sterile academic games. Typical of this dialogue are essays on Rainer Maria Rilke, including an examination of a problem of punctuation in one of his poems. What would be, in less capable hands, one more solution to a literary problem, turns out to be one of Gadamer’s creative approaches to the mystery of man’s relation to time and death. (shrink)

Very few writers have had such an impact on their culture as Alexander Solzhenitsyn on Soviet society in the ‘60s and ‘70s Recently published documents from the KGB archives show the problem he posed to the Soviet leadership—not because he was the only one to point out the massive falsehood and injustice of Soviet society but primarily due to the scathing power of his artistic diagnosis. Many of Solzhenitsyn’s writings in fictional, autobiographical, and publicistic genres can helpfully be understood in (...) terms of Plato’s struggle in the Athens of his day for a “remembering” or anamnesis of what it is to be a human being, a human society, and the cosmos as transparent for divinity. That struggle, even though Plato doesn’t use the word “amnesia”, was against the refusal to remember. The Austrian writer Heimito von Doderer called that refusal the Apperzeptionsverweigerung or refusal to perceive. Here we’ll explore Solzhenitsyn’s work in terms of his struggle to remember over against the ideological “refusal to perceive” in the three fundamental dimensions of personal, social and historical existence. Solzhenitsyn expands Mikhail Bakhtin’s understanding of “polyphonic” characterization as a key technique for articulating his diagnosis of Soviet totalitarianism. The discussion will instantiate what can be seen as his understanding of personal amnesia and anamnesis in Cancer Ward, his exploration of social amnesia and anamnesis in In the First Circle, and his treatment of historical amnesia and anamnesis in The Red Wheel and The Gulag Archipelago. (shrink)

The review examines the trilogy about time of VBV, which includes the poetic editions „Th:is.” (2000), “Will:” (2011) and “:was...” (2022), with the emphasis being the last volume, which appeared at the end of the past year. VBV's poetic texts are read through his ideas about “realliteratur” and the mediamarket “normalization” of modern culture, unfolded in a number of his theoretical observations. At the border between the poetic and the philosophical, at the point of coincidence and exchange between the two (...) projects of the VBV, a new toolkit appears for revising the status quo, both literary and political. The meta-poetic resource of VBV's “:was...”, as well as his trilogy as a whole, allows to see in a new and heuristic way the problems of performative societies at the height of the 21st century. (shrink)

This article analyzes the depiction of the impossible in Paolo Mantegazza's L'anno 3000. Starting from the literary theory of possible worlds, it will be shown that the depiction of the impossible in Mantegazza's novel is associated with specific technologies that implicate different types of perception. The three forms of perception developed in the novel move from possible to highly impossible depictions regarding the scientific culture of fin de siècle Italy.

Unruly Practices brings together a series of widely discussed essays in feminism and social theory. Read together, they constitute a sustained critical encounter with leading European and American approaches to social theory. In addition, Nancy Fraser develops a new and original socialist-feminist critical theory that overcomes many of the limitations of current alternatives. First, in a series of critical essays, she deploys philosophical and literary techniques to assess the work of Michael Foucault, the French deconstructionists, Richard Rorty, and Jürgen (...) Habermas. Then, in a group of constructive essays, she incorporates their respective strengths in a new critical theory of late-capitalist political culture. Fraser breaks new ground methodologically by integrating the previously divergent insights of poststructuralism, critical social theory, feminist theory, and pragmatism. Thematically, she deals with varied forms of dominance and subordination in modern, industrial, late-capitalist societies. These themes are integrated in an original theory of 'the politics of need interpretation.' This concept becomes the linchpin of the socialist-feminist critical theory. (shrink)

_Living Poetically_ is the first book to focus primarily on Kierkegaard's existential aesthetics as opposed to traditional aesthetic features of his writings such as the use of pseudonyms, literary techniques and figures, and literary criticism. _Living Poetically_ traces the development of the concept of the poetic in Kierkegaard's writings as that concept is worked out in an ethical-religious perspective in contrast to the aesthetics of early German romanticism and Hegelian idealism. Sylvia Walsh seeks to elucidate what it means, (...) in Kierkegaard's view, to be an authentic poet in the form of a poetic writer and to clarify his own role as a Christian poet and writer as he understood it. Walsh shows that, in spite of strong criticisms made of the poetic in some of his writings, Kierkegaard maintained a fundamentally positive understanding of the poetic as an essential ingredient in ethical and religious forms of life. Walsh thus reclaims Kierkegaard as a poetic thinker and writer from those who would interpret him as an ironic practitioner of an aestheticism devoid of and detached from the ethical-religious as well as from those who view him as rejecting the poetic and aesthetic on ethical or religious grounds. Viewing contemporary postmodern feminism and deconstruction as advocating a romantic mode of living poetically, Walsh concludes with a feminist reading of Kierkegaard that affirms both individuality and relatedness, commonalities and differences between the self and others, men and women, for the fashioning of an authentic mode of living poetically in the present age. (shrink)

This paper critically examines David Berman's theological lying interpretation of Hume and identifies two types of theological lying: the denial of atheism strategy and the pious Christian strategy. It is argued that neither reading successfully establishes an atheist interpretation of Hume. Moreover, circumstantial evidence shows that Hume's position was different from that of the atheists of his time. Attributions theological lying to Hume, therefore, are unwarranted and should be rejected, even if we grant that this literary technique was (...) used in the early-modern era. Analysing other non-theistic readings of Hume is beyond the scope of this paper. However, given that Berman presents one of most elaborated atheist reinterpretations of Hume's affirmative theistic passages, the failure of Berman's analysis shows that rejecting these passages should not be the default interpretive approach, and it is reasonable to attribute to Hume a weak, indeterminate theism. (shrink)

In Part 1, we explored how Berkeley drew from Homeric literature and used literary techniques such as satire to challenge his “freethinking” philosophical opponents in “The Pineal Gland” story published in The Guardian in 1713. Echoing the grand tours Berkeley undertook in subsequent years, Part 1 and 2 both present a “gland tour” of some motivations, influences and legacies of Berkeley's text. In particular, Part 2, explores a line of literary influence beginning with Margaret Cavendish and extending through (...) Gabriel Daniel, Berkeley and Alexander Pope. In doing so, we present anticipations of features of Berkeley's story in the writings of Margaret Cavendish amid a discussion of Berkeley's complex attitudes towards women. The paper also argues that Berkeley's story represents an underappreciated yet significant milestone in the history of speculative fiction. (shrink)

The articles in this Focus section are devoted to fictional works that take episodes in the history of science as their topic and to the use of fictional techniques in popular histories of science. Along with specifying the obvious defects of many such texts as works of history, the authors are looking to identify literary techniques that might usefully be adopted by historians. Careful reading of some of the best works of fiction can yield a further benefit, since they (...) may raise fundamental issues about the certainty with which we can know the past and the means by which we can represent it in historical writing. (shrink)

Vedānta Deśika produced his monumental poetic biography of Kṛṣṇa in a time when Kṛṣṇa-centered devotionalism was expanding to become perhaps the dominant mode of bhakti across South Asia. Central to this phenomenon is the growing popularity of the Bhāgavatapurāṇa, and especially of its exploration of Kṛṣṇa’s erotic play with the gopīs in his youth. Troubled by the unrestrained and seemingly adharmic sexuality of Kṛṣṇa, Deśika used the literary techniques and narrative paradigms of the mahākāvya to assimilate but also domesticate (...) this increasingly important Bhāgavata episode: Kṛṣṇa’s eroticism remains central but confined within more conventional marital norms and is thus made dharmically and theologically acceptable. Once he has resolved these dharmic problems, however, Deśika is happy to explore the soteriological, devotional, and paradoxical dimensions of erotic love with Kṛṣṇa. (shrink)

Resumen En la crítica del Cantar de los Cantares no hay acuerdo acerca del problema estructural del libro. Las teorías se dividen en aquellas que abogan por un carácter fragmentario contra otras que ven un carácter unitario de los poemas. El estudio intenta revisar esta problemática y proponer que el Cantar de los Cantares es una colección de poemas sueltos que un redactor/recopilador juntó e intentó poner en cierto orden, incorporando el conjuro de 2,7; 3,5; 5,8; 8,4 como estribillo con (...) función articuladora, de tal manera que el conjuro quedó puesto como hito divisorio entre grandes bloques poéticos que se relacionan entre sí por un tema común u otro recurso de mano redaccional, configurando así un ordenamiento estructural de todo el libro.In the criticism of the Song of Songs there is no agreement on the structural problem of the book. Theories are divided into those advocating a fragmentary against others who see a unitary character of poems. The study attempts to revise this problems and propose that the Song of Songs is a loose collection of poems that a compiler gathered and tried to give some order, incorporating the adjuration of 2, 7; 3,5; 5,8; 8,4 as refrain with articulate function, such that the adjuration was set as milestone dividing between large blocks poetic that interrelate by a common theme or other resource or literary technique thus configuring a structural arrangement of the whole book. (shrink)

In this paper, I examine the claim that Nietzsche was already mad (or on the verge of madness) when he wrote Ecce Homo, arguing that this assumption, not the book’s quasi-autobiographical style, has been the chief impediment to a serious philosophical consideration of the text. I briefly take up several recent treatments of the work that attempt to counter the claim of madness commonly made about it, noting that while each of them gives us a good partial rejoinder, they all (...) miss a crucial approach that helps make a great deal more sense of the text. Ecce Homo’s exceedingly bombastic claims, and much of its strange style, can be best explained by noticing Nietzsche’s incorporation of several traditional elements of Judeo-Christian apocalyptic narratives: a first-person narrative describing a revelatory disclosure (and the subsequent interpretation of that revelation); a cosmic dualism of forces (Dionysus and “the Crucified”) and radical eschatological worldview; and an exhortation to shift our cognitive and behavioral comportment to reflect the altered perspective on the world disclosed in that revelation. Thus construed, the text is no more a work of “madness” than the book of Revelation. It is, rather, the ironic appropriation and redeployment of a series of literary techniques and stylistic elements that highlight the importance of Nietzsche’s life and work as the destined surmounting of the (ostensibly) life-denying Christian worldview. (shrink)

This article addresses the question whether and how literary documents can be used to further our understanding of a number of key issues on the agenda of the philosophy of biology such as “complexity” and “reductionism”. Kant already granted a certain respectability to aesthetical experiences of nature in his third Critique. Subsequently, the philosophical movement known as phenomenology often used literary sources and literary techniques to criticize and question mainstream laboratory science. The article discusses a number of (...) literary documents, from Moby-Dick to Jurassic Park, that explicitly stage a confrontation between scientific and non-scientific ways of experiencing and understanding the natural world. Special attention is given to the work of Michael Crichton. Its relevance for the philosophy of biology is pointed out. (shrink)

This paper discusses a new edition of Callimachus' Aitia by Annette Harder and a monograph, Callimachus in Context, by Benjamin Acosta-Hughes and Susan Stephens. A focus is common to both works, the edition no less than the monograph, which tackles the poem on what Harder calls the micro-, macro- and meso-levels, in order, not only to establish readings, explicate Realien and clarify detail, but also to explore literary techniques, structure and the degree to which the poem reflects the society (...) and culture in which it was written. Recent interpretations have seen catalogue technique and organization as fundamental to the Aitia's poetics, and the review considers aspects of both the poem's structure and its contemporaneity – as well as the limitations of an excessively Alexandria-centric approach. (shrink)

Resumen En la crítica del Cantar de los Cantares no hay acuerdo acerca del problema estructural del libro. Las teorías se dividen en aquellas que abogan por un carácter fragmentario contra otras que ven un carácter unitario de los poemas. El estudio intenta revisar esta problemática y proponer que el Cantar de los Cantares es una colección de poemas sueltos que un redactor/recopilador juntó e intentó poner en cierto orden, incorporando el conjuro de 2,7; 3,5; 5,8; 8,4 como estribillo con (...) función articuladora, de tal manera que el conjuro quedó puesto como hito divisorio entre grandes bloques poéticos que se relacionan entre sí por un tema común u otro recurso de mano redaccional, configurando así un ordenamiento estructural de todo el libro.In the criticism of the Song of Songs there is no agreement on the structural problem of the book. Theories are divided into those advocating a fragmentary against others who see a unitary character of poems. The study attempts to revise this problems and propose that the Song of Songs is a loose collection of poems that a compiler gathered and tried to give some order, incorporating the adjuration of 2, 7; 3,5; 5,8; 8,4 as refrain with articulate function, such that the adjuration was set as milestone dividing between large blocks poetic that interrelate by a common theme or other resource or literary technique thus configuring a structural arrangement of the whole book. (shrink)

This article intends to offer a general presentation of the way in which Saint Thomas Aquinas proceeded in his exegesis of sacred texts. The author concentrates on one of Aquinas’ most estimated biblical commentaries, his Lectura on the Gospel according to St. John. Aquinas combines great theological insight with an incipient development of some literary techniques. In his hermeneutics, he emphasizes the priority of the literal sense of Scripture, although this thesis does not lead him to present a purely (...) natural interpretation. The supernatural mystery of God belongs to the literal sense of Scripture. This is why God, as the principal author of Scripture, might have intended to express different truths even within a single passage. (shrink)

This volume brings together new research on fiction from the fields of philosophy and linguistics. Fiction has long been a topic of interest in philosophy, but recent years have also seen a surge in work on fictional discourse at the intersection between linguistics and philosophy of language. In particular, there has been a growing interest in examining long-standing issues concerning fiction from a perspective that is informed both by philosophy and linguistic theory. -/- Following a detailed introduction by the editors, (...) The Language of Fiction contains 14 chapters by leading scholars in linguistics and philosophy, organized into three parts. Part I, 'Truth, Reference, and Imagination', offers new, interdisciplinary perspectives on some of the central themes from the philosophy of fiction: What is fictional truth? How do fictional names refer? What kind of speech act is involved in telling a fictional story? What is the relation between fiction and imagination? Part II, 'Storytelling', deals with themes originating from the study of narrative: How do we infer a coherent story from a sequence of event descriptions? And how do we interpret the words of impersonal or unreliable narrators? Part III, 'Perspective Shift', focuses on an alleged key characteristic of fictional narratives, namely how we get access to the fictional characters' inner lives, through a variety of literary techniques for representing what they say, think, or see. The volume will be of interest to scholars from graduate level upwards in the fields of discourse analysis, semantics and pragmatics, philosophy of language, psychology, cognitive science, and literary studies. -/- Table of Contents 1:Introduction, Emar Maier and Andreas Stokke Part I: Truth, Reference, and Imagination 2:Fictional reference as simulation, François Recanati 3:Sharing real and fictional reference, Hans Kamp 4:Fictional truth: In defense of the reality principle, Nils Franzén 5:On the generation of content, Sandro Zucchi 6:Do the imaginings that fictions invite have a direction of fit?, Manuel García-Carpintero Part II: Storytelling 7:In search of the narrator, Regine Eckardt 8:Extracting fictional truth from unreliable sources, Emar Maier and Merel Semeijn 9:Narrative and point-of-view, Samuel Cumming 10:A puzzle about narrative progression and causal reasoning, Daniel Altshuler 11:Isomorphic mapping in fictional interpretation, Matthias Bauer and Sigrid Beck Part III: Perspective Shift 12:Metalinguistic acts in fiction, Nellie Wieland 13:Computing perspective shift in narratives, Márta Abrusán 14:Derogatory terms in free indirect discourse, Isidora Stojanovic 15:Protagonist projection, character-focus, and mixed quotation, Andreas Stokke. (shrink)

Contemporary African American and Black British Women Writers: Narrative, Race, Ethics brings together British and American scholars to explore how, in texts by contemporary black women writers in the U. S. and Britain, formal narrative techniques express new understandings of race or stimulate ethical thinking about race in a reader. Taken together, the essays also demonstrate that black women writers from both sides of the Atlantic borrow formal structures and literary techniques from one another to describe the workings of (...) structural racism in the daily lives of black subjects and to provoke readers to think anew about race. Narratology has only recently begun to use race as a category of narrative theory. This collection seeks both to show the ethical effects of narrative form on individual readers and to foster reconceptualizations of narrative theory that account for the workings of race within literature and culture. (shrink)