The issue of words combinations draws attention of linguists starting from the second half of the XX c. until the present day. This study is focused on the research of semantic mechanisms of unusually combined lexemes and unexpected collocations in English postmodern short-short stories. Reconsideration of the literary past and ironic view on traditional poetic canons are reflected in postmodern literary texts due to the principles of postmodern poetics. Being distinctive feature of postmodern literature in (...) general, uncertainty creates multiplicity of meanings of entire literary text, as well as separate unexpected collocations, by means of unusually combined lexemes. The aim of the study is to elaborate the phenomenon of valence violation, created by unusually combined lexemes and unexpected collocations in English postmodern short-short stories. To achieve this goal, it is necessary to define the notion of valence and lexeme compatibility, to identify types of valence violation in lexemes combinations, and to provide their possible interpretation. Functioning in English postmodern short-short stories such language units widen boundaries of their usage and their combinatorial profile. Unusually combined lexemes focus the reader’s attention and provoke a cognitive mechanism of continuous searching for a hidden meaning of unexpected collocations and the general message of a literary text. In this research unusually combined lexemes are regarded as special markers of postmodern short-short story genre for which violation of text structure, violation of usual relations between lexemes in logic, semantic and syntactic aspects are quite common. (shrink)

In this book, Steve Gronert Ellerhoff explores short stories by Ray Bradbury and Kurt Vonnegut, written between 1943 and 1968, with a post-Jungian approach. Drawing upon archetypal theories of myth from Joseph Campbell, James Hillman and their forbearer C. G. Jung, Ellerhoff demonstrates how short fiction follows archetypal patterns that can illuminate our understanding of the authors, their times, and their culture. In practice, a post-Jungian ‘mythodology’ is shown to yield great insights for the literary criticism (...) of short fiction. Chapters in this volume carefully contextualise and historicize each story, including Bradbury and Vonnegut’s earliest and most imaginatively fantastic works. The archetypal constellations shaping Vonnegut’s early works are shown to be war and fragmentation, while those in Bradbury’s are family and the wholeness of the sun. Analysis is complemented by the explored significance of illustrations that featured alongside the stories in their first publications. By uncovering the ways these popular writers redressed old myths in new tropes—and coined new narrative elements for hopes and fears born of their era—the book reveals a fresh method which can be applied to all imaginative short stories, increasing understanding and critical engagement. Post-Jungian Psychology and the Short Stories of Ray Bradbury and Kurt Vonnegut is an important text for a number of fields, from Jungian and Post-Jungian studies to short story theoriesand American studies to Bradbury and Vonnegut studies. Scholars and students of literature will come away with a renewed appreciation for an archetypal approach to criticism, while the book will also be of great interest to practising depth psychologists seeking to incorporate short stories into therapy. (shrink)

A large number of investigations have highlighted the importance of incorporating literary texts into English language teaching programs. Nevertheless, there are scarce studies on how short stories from L1 and L2 literature play a role in reconstructing learner identity in tertiary contexts. The present research study examines the identities of four non-native undergraduate students concerning aspirations for language investment or consumption. Data collection instruments were semi-structured interviews, open-ended questionnaires, and diary writings. The materials taught in the course (...) consisted of three translated Persian and four target fictions related to loyalty and justice. The researchers used qualitative content analysis to explore the language learners’ self-images of initial, story-based, and prospective learning stages. Nearly all the participants regarded language learning as language consumption for pleasure in different stages except for the future aspiration stage; they did not aspire for personal economic benefits. The findings may enlighten curriculum designers in EFL contexts to incorporate literary texts from the native and target cultures into language education materials to provide opportunities for learners to experience diverse identities and meet individual preferences. (shrink)

In this paper, I explore the connection between certain metaphysical views of time and emotional attitudes concerning one’s own death and mortality. I argue that one metaphysical view of time, B-theory, offers consolation to mortals in the face of death relative to commonsense and another metaphysical view of time, A-theory. Consolation comes from three places. First, B-theory implies that time does not really pass, and as a result one has less reason to worry about one’s time growing short. Second, (...) B-theory entails that there is a real sense in which one’s death does not result in one’s annihilation, and this fact can temper feelings of existential distress. Third, B-theory has the consequence that the benefits one has lost have concrete existence, and this fact can mitigate the emotional significance of the losses of death. (shrink)

This is a book about how William James and Milton Erickson have helped shape the modern conceptualization of human consciousness and its care. With both men cast from the archetypal mold of a wounded healer and a coming-of-age odyssey, it should not surprise us that James and Erickson converge on the central idea that "...the secret to the care of human consciousness is the utilization of who we are toward some practical end." It does not matter if you are a (...) serious student of James and Erickson or someone who is freshly introduced to their work; this book offers clarity and a deeper understanding of what Jamesean psychology looks like when masterfully applied to clinical care. While numerous books have been written about Erickson, they often revolve around spectacular success stories-making Erickson somewhat of a myth and therefore inaccessible. By learning more about the stories and principles that informed young Erickson, we are better able to appreciate and learn from the common sense nature of his work. (shrink)

One of the more remarkable features of the epilogue to Master Geffrei Gaimar's Estoire des Engleis is the light that it sheds both internally on the process of composition of the poem and externally on the actual sources used for its compilation and on the various individuals who had a part to play in making them available to the author. In addition to the poet himself, no fewer than nine contemporaries are named , and what appear to be four direct (...) written sources, in Latin and English, are listed . Clearly we are dealing here with an exceptionally self-conscious author, intent on establishing the highest scholarly credentials for his historico-literary enterprise and investing his text with a wide range of verifiable auctores from the England of the first half of the twelfth century. (shrink)

Latin dē, both in its prepositional and preverbal form, is characterized by multiple, varied, and seemingly unrelated senses. Unlike proposition-based lexicographical and historical linguistic accounts, an image-schematic definition systematically explains the range of its literal, physical senses and of its figurative, abstract senses, as well as the relations between them. Defining dē in terms of an image-schematic “scenario” portraying two entities connected by a directional trajectory in fact accommodates the co-existence of even antonymous senses within this word's semantic structure and (...) apparently radical divergences from its presumed essential literal meaning in Latin literature, due to the susceptibility of image schemas to “embodied” transformations such as perspective shifts and profiling effects. Dē's more abstract senses may also be linked in this way to widespread metaphorical patterns in Latin, showing that these senses are not haphazard but highly motivated semantically—with significant implications for lexicography, and literary and cultural history. (shrink)

For forty years, American priest and friar Reginald Foster, O.C.D., worked in the Latin Letters office of the Roman Curia’s Secretary of State in Vatican City. As Latinist of four popes, he soon emerged as an internationally recognized authority on the Latin language—some have said, the internationally recognized authority, consulted by scholars, priests, and laymen worldwide. In 1986, he began teaching an annual summer Latin course that attracted advanced students and professors from around the globe. This volume gathers contributions from (...) some of his many students in honor of his enduring influence and achievements. Its chapters explore a wide range of linguistic and literary evidence from antiquity to the present day in a variety of theoretical perspectives. If the motivation for putting together this collection has been to reflect (and reflect upon) Foster’s influences on Latin scholarship and pedagogy, its title alludes—via the medieval folk etymology of the word labyrinthus (“quasi labor intus”)—to its theme: ambiguity in Latin 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)

Understanding Literary Theory is the essential guide for every reader looking to understand what literary theory is and why it matters. This concise and accessible text introduces today's foremost schools of literary theory, offering historical background and outlining the important ideas of each. The theories are then applied to a variety of classic short stories, demonstrating how the different theoretical approaches can yield diverse interpretations of the same literary works. This volume separates itself from (...) similar texts by providing clear and accurate explanations of theory's most challenging concepts. It examines all of the major schools of criticism, including ecocriticism, ethnic studies, feminism, formalism, Marxism, narratology, new historicism, postcolonialism, postmodernism, post-structuralism, psychoanalysis, queer theory, reader response, and structuralism. Each chapter begins with a straightforward summary that outlines the focus of the theoretical approach, its notable practitioners, its advantages and disadvantages, and a concise definition. The chapters then delve into each theory by explaining the key concepts and the ideas that led to them. This book is indispensable for anyone intimidated by words like deconstruction, differance, heteroglossia or hyperreality. Understanding Literary Theory shows readers the interpretative possibilities that literary theory can provide. It is the ideal introduction for those who want to get the most out of the literature they read. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Moving Literary Theory OnWendell V. HarrisParadox has long been especially seductive to literary critics and theorists. For the New Critics, the presence of paradox in a text served to vouch for the complexity and therefore value of the perspective on life the text offered. For poststructuralists it seems to be even more important: paradox is the hallmark of earnestness. And if paradox is good, self-contradiction is even (...) better. That at least would seem to be the reasoning that justifies the amount of internal contradiction to be encountered among the critical principles most in vogue these days. Let us note twelve of the most egregious of these contradictions.(1) New Criticism is dead. But the New Critics’ major activity, the pursuit of the author’s intended meaning through close reading, is still very much with us. However much poststructuralists have wished to deny the importance of or possibility of achieving understanding of authorially intended meaning, their own critical commentary necessarily begins with the meaning the author is assumed to have intended. For instance, that which Derrida seeks to deconstruct or undercut in Saussure, Rousseau, Austin, or Searle begins in what he thinks they intended to say. However, the New Critic sought to resolve apparent contradictions on the principle that the interpretation producing the greatest consistency would be nearest the author’s meaning (since the author was assumed to have assumed that the reader would assume that the author intended a non-contradictory statement). In contrast, the poststructuralist typically seeks to find and emphasize or, if necessary, induce contradiction—but only after having assumed that degree of consonance and unity in the text necessary to interpret the intended meaning within which can be sought the contradictions for the [End Page 428] discovery of which the reading was undertaken. The result is thus more often than not a New Critical reading into which contradictions have been injected. One is reminded of the old story of the student in a short story writing class who told his friend that he had the story all written—all he had to do was go back and put in the symbols. The typical poststructuralist begins with a reading much like what one would expect from a New Critic and then begins inducing contradictions.(2) Literature and language cannot really be about anything beyond themselves. At the same time literature and the language on which it is dependent are regarded as largely constituting that which we experience. If language cannot refer to non-linguistic things and events, either it cannot have the power to shape our classifications, descriptions, and evaluations of things and events experienced, or there exists nothing beyond language—in which case we can abolish poverty, racism, and sexism by denying that those words have any meaning. Moreover, if language is about nothing but itself, any formulation that uses language to make statements denying the relationship of language to anything outside itself must be meaningless.(3) All narratives, indeed all statements about the world, are fictional. Yet “fictional” would have no meaning if it did not stand in contrast to those things that are not fictional, while the distinctions made available by the contrast are ones we can hardly do without. There are narratives (1) that both tellers and their hearers/readers know to be not true (“not to be the case” is the evasive formulation popular with philosophers), (2) that tellers and/or hearers/readers think true though they prove not to be, and (3) that tellers think true and are in fact partially, perhaps largely true, but erroneous in some details and necessarily incomplete. These classifications require a modicum of explanation, but to lose one’s way among them would seem to require a wilful pursuit of confusion.Class 1. Oliver Twist is fictional even though there were workhouses, thieves, and such sites as The Angel and Newgate existing at the time at which the narrative is set. Of course, within a fictional narrative, there may be subnarratives the reader is to regard as true within the total fictional narrative and others that are to be regarded as false. To take a light-hearted example, within the narrative of Gilbert and... (shrink)

In the history of literary experimentation, the writer has evolved into a social medium for literary readings of numerous literary works that were previously only known to those with a keen interest in literature and literary genres. As a result, many well-known literary works have been succinctly summarised in front of everyone in a way that is both helpful and provides details while still remaining concise. In this essay, the researcher wants to show how Twitter (...) has developed into a literary form, competing with other well-known literary works like novels, plays, short stories, and poetry, particularly haiku. Beginning with an introduction to Twitter literature and its definition, the study then focuses on the format in which literary tweets are provided, including the word count and length of the presentation of the literary work. Then, the literary subgenres that appeared on Twitter were criticised. The paper provides instances of literary accounts on Twitter and distinguishes the literary genres on Twitter. The study also discusses Twitter’s literary value in educating readers about a variety of literary works, particularly those who are uninterested in or uninterested in literature. Moreover, the distinction between reading literary works in their authentic forms vs their Twitter-based forms. The researcher contrasts the literary subgenres that are best suited for Twitter distribution. As a complement to the other well-known literary genres and in keeping with the varied, quick, and advanced modern day, the researcher concludes by presenting Twitter as one of the crucial literary genres of the new millennium that must be given significance and relevance. However, this study makes the case that Twitter might be. It is seen as an expression of an experimental platform for postmodern electronic literature that can ensure a revival of the steadily dwindling fantasy reading habit that is appealing to the generation of technology enthusiasts. (shrink)

A rarely examined internal reading by Bourdieu at the end of The Rules of Art of William Faulkner's short story ‘A Rose for Emily’ provides the starting point for a reflection on Bourdieu's theories of reading and reflexivity. The article begins by looking at Bourdieu's theory of literary reception, and its identification of two distinct modalities of reading, ‘scholastic’ and ‘naive’. It then places Bourdieu's discussion of ‘A Rose for Emily’ as a ‘reflexive’ text in the context of (...) his wider theory of reflexivity. Bourdieu's approach to reading Faulkner's text is compared with those deployed elsewhere by more established literary critics, notably Jean-Paul Sartre and Roland Barthes. Finally, the question of how his internal reading fits within the logic of a theoretical work devoted to the ‘reflexive’ practice and method of field analysis is discussed. (shrink)

In _The Moral of the Story,_ Peter and Renata Singer draw on some of the best works of fiction, playwriting, and poetry in order to shed light on the perennial questions of ethics. A vivid montage of literature that touches on a broad range of ethical subjects and themes Offers a unique contribution to the study of moral philosophy and literature Demonstrates how literary sources can add richness to discussions of real-life moral questions and dilemmas Brings together selections and (...) excerpts from the world’s most celebrated short stories, novels, plays, and poetry Features substantive section introductions by Peter and Renata Singer Peter Singer is a leading moral philosopher, widely credited with triggering the modern animal-rights movement. His collection of essays, _Unsanctifying Human Life,_ edited by Helga Kuhse, was published by Blackwell Publishing in 2001. (shrink)

The philosophy of literature, as developed by analytical philosophers, places the values of literature, implicitly or explicitly, at the centre of its core debates. Is literature an honorific (value-laden) concept or a descriptive one? What is literary interpretation if not primarily the uncovering of deeper significance and interest in works of literature? What about the pursuit of truth and knowledge? Is it not one of the most valued aspirations of literature? And can readers of novels not sharpen their moral (...) sensibility, their empathy, their understanding of human weakness, desires and follies, by engaging with the lives of fictional characters? Can the great works of fiction or poetry or drama not offer enduring psychological rewards, not just in the pleasures of literary artifice but in having the imagination stretched through immersion in worlds and possibilities well beyond the banalities of everyday life? These are some of the debates, even if no final resolution has emerged. Are there such distinctive literary values as implied in these debates? Is it possible to generalize across literary genres or are there only, at best, values of poetry, the novel, the short story, drama? And how are individual works to be evaluated? Are there objective values or only values relative to individual readers or "communities"? Is there a canon of great works, and if so, how is it constructed? How do moral values relate to literary values? Can great works be immoral? These are live issues for the philosopher of literature. (shrink)

A small, insignificant-looking intellectual with absurdly long legs, Søren Kierkegaard (1813-1855) was a veritable Hans Christian Andersen caricature of a man. A strange combination of witty cosmopolite and melancholy introvert, he spent years writing under a series of fantastical pseudonyms, lavishing all the splendor of his magnificent mind on a seldom-appreciative world. He had a tragic love affair with a young girl, was dominated by an unforgettable Old Testament father, fought a sensational literary duel with a popular satiric magazine, (...) and died in the midst of a violent quarrel with the state church for which he had once studied theology. Yet this iconoclast produced a number of brilliant books that have profoundly influenced modern thought. In this classic biography, the celebrated Kierkegaard translator Walter Lowrie presents a charming and warmly appreciative introduction to the life and work of the great Danish writer. Lowrie tells the story of Kierkegaard's emotionally turbulent life with a keen sense of drama and an acute understanding of how his life shaped his thought. The result is a wonderfully informative and entertaining portrait of one of the most important thinkers of the past two centuries. This edition also includes Lowrie's wry essay "How Kierkegaard Got into English," which tells the improbable story of how Lowrie became one of Kierkegaard's principal English translators despite not learning Danish until he was in his 60s, as well as a new introduction by Kierkegaard scholar Alastair Hannay. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 171-173 [Access article in PDF] Book Review Literary Lives: Biography and the Search for Understanding Literary Lives: Biography and the Search for Understanding, by David Ellis; ix & 195 pp. New York: Routledge, 2000, $35. In his discussion of biography as a form, Ellis points to his study as a response to the scarcity of "monographs on biography... and [that] none of (...) them are particularly satisfactory" (p. 2). He further points out that "the comparative dearth of analytic enquiry into biography is surprising" (p. 3). In short, his first pages get off to a rocky start in their tatty justification of a critical study. Though a critic of D. H. Lawrence, Ellis uses the English writer sparingly, pointing out in his "Preface" what he feels is a need "to keep illustration involving Lawrence to a decent minimum" (p. viii) while concentrating on those problems which face the biographer. That said, he sets about to characterize biography as an integration of "a disinterested enthusiasm for information... [fashioning a]... compelling story in which many details with no direct relevance to the life of his subject can be considered as contributing successfully to a period atmosphere" (p. 35). Ellis is thinking specifically of Norman Sherry's biography of Graham Greene through which he has brought to the discussion his intent of pointing to an approach which concerns itself with chapters on "Ancestors," "Primal Scenes," "Body Matters," "the Sociological [End Page 171] Imagination," "History, Chance and Self-determination," "Compatibility, Sartre and Long Biographies." All are aspects of biography.As well as the approach he suggests by these areas of concentration, Ellis draws broadly from many subjects of biography, always keeping a critical eye on its form. Anne Stevenson's approach "is towards psychological determinism" (p. 135); Ackroyd in his biography of Dickens raises "through a degree of intellectual play" the questions of when "lineage" is appropriate, that is, the extent to which it has any productive consequence. He also uses Hawthorne and Virginia Woolf as examples. Writing of the role of the historian raises difficulties for writers creating biographies from such an early period as that of Chaucer; Ellis points to Derek Pearsall's "excellent Life of Geoffrey Chaucer" (p. 121).Ellis neither can nor should ignore Lawrence and what better chapter to include him in than "Body Matters" in its concentration on illness. Here Ellis draws on Lawrence's concern with the harm of his health on his work (p. 78). He also considers Flaubert, Sartre, and Woolf. Briefly he mentions Stendhal's imagination of his "future audience" after his death (p. 109), sensibly rejects the long ago depleted and so, parenthetically, apparently permanent speculation on what Keats's might have become had he lived a full life "in a time of drugs for treatment of tuberculosis" (p. 123) and the equally mined issue of what prompted Hemingway's suicide (pp. 132-33). Certainly he is aware of the danger that such a use of material may pander to the pleasure of mere name-hunters (what if there were no index!). At the same time, if the effect of his range of examples invites additions of our own, while keeping before us that his study is about biography as form, it is successful.In "Primal Scenes," the fourth chapter of his book, Ellis gives what he feels is necessary space to Freud, the creator of the term. He points to Wordsworth's "spots of time" as only one indication of the difficulty--if not impossibility--of capturing biographically those moments in childhood by which the individual written about might be defined (p. 57). (Such an impossibility should not be surprising to those of us readers who recognize the nearly impossible task for ourselves in our own lives.) Surely both the biographer and autobiographer share this ignorance and frustration. In a very interesting move, Ellis points to Compton Mackenzie's discussion of a critical event in his six-year old life surrounding the interruption of an Easter evening with his parents and siblings, interrupted by the arrival of friends. Ellis writes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Two Stories in One: Literature as a Hidden Door to the History of Seventeenth-Century FranceChristian Jouhaud (bio)Translated by Cynthia J. Koepp (bio)I would like to take you into the history of seventeenth-century France through a narrow door—a door that is not only narrow but hidden. Why should we struggle to squeeze through this passage? Well, there are at least two reasons. First, it is an attempt to experience (...) a disorienting perspective on a landscape that we believe we already know completely; and second, the narrowness of the path underlines its particularity and in that way elicits a comparison with other paths elsewhere. This narrow passage is a text, perhaps an insignificant one, written by a seventeenth-century author. After making a few observations concerning its mechanics, I will use this text as a model to interpret something else, to understand it as something that stimulates thinking about historiographical hypotheses: as a convenient tool to shake up the political history of seventeenth-century France. In other words, I propose to utilize literature as a hidden door in order to enter the arena of political history, where we usually do not find any door at all.Deux histoires en une, or Two Stories in One, is a brief text by Jean-Louis Guez de Balzac, a work of uncertain status, published among dozens of other pieces in a collection known by two titles: Moral Treatises and Conversations. Guez de Balzac, who lived between 1595 and 1654, does not appear on the short list of the most celebrated writers of seventeenth-century France: Molière, Racine, Corneille, La Fontaine, Sévigné, Bossuet. At the time, however, he occupied center stage in French literary life. He was perhaps the first author recognized as a grand écrivain; he was widely admired, celebrated, criticized. At the center of protracted literary debates, Guez de Balzac exercised an immense critical authority in the world of belles lettres.Since I first began working on the question of the birth of literature as a specific social space in seventeenth-century France, I have not stopped reading and rereading Balzac’s Two Stories in One. This text resists interpretation—even comprehension. It gives the reader the feeling—to be honest, an exasperating feeling—of extraordinary richness and also of an extraordinary capacity to steal away from view. The importance of this text for the comprehension of something other than itself, however, has become clear to me. This leapt out at me, by chance, when I was reading it for the nth time—at nearly the same time that I was rereading several pages of Marcel Proust. Not that the author of À la recherche du temps perdu had any connection at all to Guez de Balzac. Rather, it was Proust’s evoking, in his way, two stories in one—or rather one story in two parts—that for me rendered suddenly palpable something of the force of Balzac’s text.At the beginning of À l’ombre des jeunes filles en fleurs, Proust meditates on the story of Swann before and after his marriage. He emphasizes our incapacity to think of two successive states in the history of our life at the same time: for example, that of a jealous lover and that of an appeased husband. If one succeeds in thinking both things at once, the two moments then cease to appear distinct to us, and are mixed up one in the other. If the [End Page 92] mind wants to distinguish them, it loses the ability to think them both at once. I would like to propose an hypothesis that the import of Balzac’s Two Stories in One, contrary to Proust, is an attempt to open up to speculation an improbable space, a space imperceptible to sensory experience. This space lies at the interstice of “both at once” and “separately.” Thus Balzac attempts to escape the dilemma of superimposition (that is to say, fusion) or of succession (that is, separation). He attempts to subvert the elementary rule of logic that states that “a” is either different from “b” or is the same as “b.”What is striking when one first reads Two Stories in... (shrink)

A small, insignificant-looking intellectual with absurdly long legs, Søren Kierkegaard was a veritable Hans Christian Andersen caricature of a man. A strange combination of witty cosmopolite and melancholy introvert, he spent years writing under a series of fantastical pseudonyms, lavishing all the splendor of his magnificent mind on a seldom-appreciative world. He had a tragic love affair with a young girl, was dominated by an unforgettable Old Testament father, fought a sensational literary duel with a popular satiric magazine, and (...) died in the midst of a violent quarrel with the state church for which he had once studied theology. Yet this iconoclast produced a number of brilliant books that have profoundly influenced modern thought. In this classic biography, the celebrated Kierkegaard translator Walter Lowrie presents a charming and warmly appreciative introduction to the life and work of the great Danish writer. Lowrie tells the story of Kierkegaard's emotionally turbulent life with a keen sense of drama and an acute understanding of how his life shaped his thought. The result is a wonderfully informative and entertaining portrait of one of the most important thinkers of the past two centuries. This edition also includes Lowrie's wry essay "How Kierkegaard Got into English," which tells the improbable story of how Lowrie became one of Kierkegaard's principal English translators despite not learning Danish until he was in his 60s, as well as a new introduction by Kierkegaard scholar Alastair Hannay. (shrink)

The narratives studied by schema-based models or story grammars are generally simpler than those found in literary texts, such as short stones or novels. Literary narratives are indeterminate, exhibiting conflicts between schemata and frequent ambiguities in the status of narrative elements. An account of the process of comprehending such complex narratives is beyond the reach of purely cognitive models. It is argued that during comprehension response is controlled by affect, which directs the creation of schemata more adequate (...) to the text. Several properties of affect that make it appropriate for this model of narrative are discussed. A short story by Virginia Woolf is analysed in the light of the proposed model. A study with readers of the story is described, which illustrates the process of schema formation: Shifts in the relative importance of story phrases across the reading and the comments made by readers point to a process of schema creation under the control of affect. It is argued that affect may play a more productive role in cognitive processes than is generally acknowledged. (shrink)

Verb tenses play an important role in managing deictic relations between the narrator, the audience and the events happening in the story world. Across languages, the Simple Past is considered the conventional story-telling tense, reflecting the prototypical deictic configuration of stories in which the narrator is positioned at some distance from the events unfolding in the story. The Simple Present, on the other hand, is considered a marked option for narration, assumed to automatically result in a shift to a (...) subjective perspective. This paper reports on an analysis of a corpus made up of Dutch fictional short stories, news reports and feature articles. The results suggest that conventions for use and interpretation of verb tenses in narrative contexts are in fact genre-dependent. In the news genres, the Simple Present tense dominated in narration. This did not automatically result in a subjective mode or narration, but was naturally used to express a default narration of story events that temporally overlap with the temporal deictic center of the communicative ground. These findings suggest that previous analyses of verb tenses in relation to narration reflect an over-generalization based on the situational characteristics of prototypical narrative genres such as literary fiction and personal anecdotes. (shrink)

This short but thought-provoking volume asks the question 'What is it that tragedy makes us know?'. The focus is on tragedy as a mode of representing the experience of radical suffering, pain, or loss, a mode of narrative through which we come to know certain things about ourselves and our world--about its fragility and ours. Through a mixture of historical discussion and close reading of a number of dramatic texts--from Sophocles to Sarah Kane--the book addresses a wide range of (...) debates: how tragedy is defined, whether there is such a thing as 'absolute tragedy', various modern attempts to rework the classical heritage and the relation of comedy to tragedy. There is also a fresh discussion of whether religious--particularly Christian--discourse is inimical to the tragic, and of the necessary tension between tragic narrative and certain kinds of political as well as religious rhetoric. Rowan Williams argues that tragic drama both articulates failure and frailty and, in affirming the possibility of narrating the story of traumatic loss, refuses to settle for passivity, resignation, or despair. In this sense, it still shows the trace of its ritual and religious roots. And in challenging two-dimensional models of society, power, humanity and human knowing, it remains an intrinsic part of any fully humanist culture. (shrink)

Apart from being a prolific philosopher, Roger Scruton is also an accomplished writer of novels, poems, short stories, libretti and literary memoirs. In this article I will explore how Scruton's literary writings relate to his philosophy. I shall argue that one concept, pivotal to Scruton's philosophy, is also a main Leitmotiv of his literary work: home. The longing to be at home in the world is integral to our human nature. Several phenomena, as Scruton shows (...) in his philosophy and literary works, are indispensable in order for us to be able to fulfil the desire to belong: beauty, oikophilia, and the ability to engage with each other as persons. (shrink)

The research is based on a study of short story collections by Israeli writer Ida Fink’s, All the Stories, and French writer Charlotte Delbo’s, Auschwitz and After, to reflect the impact of the Holocaust on autobiographical elements in their work. The authors are representatives of the first generation of Holocaust survivors, which means that the mass systematic genocide during World War II was a personal traumatic experience for them. The works of female writers are studied using the theory (...) of trauma at the genre level. Since autobiography has been considered a documentary genre with its own peculiarities, works about the Holocaust were seen as historical evidence of this event. However, based on the works of Juri Lotman and some principles of Philippe Lejeune’s “autobiographical pact”, we can conclude that autobiography is similar to fiction if it can meet certain aesthetic functions. Under the influence of trauma, the genre of autobiography can be modified in the literary text in such a way that the line between autobiography and fiction is blurred. Ida Fink and Charlotte Delbo write short stories with fictional narrators, but all the situations are certainly the experiences of the writers themselves, who turn to the autofiction and conventions of Philippe Lejeune’s “autobiographical pact” to transfer their memories to literary heroes. The aim of the study is to define the peculiarities of the autobiographical genre, analyze its functions in Holocaust literature, identify poetic elements of autobiography, and prove that there is no canonical form of narration about the Holocaust-Era, as the writers were searching for how to articulate their traumatic experience in experimental forms. (shrink)

When in 1866 American publisher Ticknor and Fields released St. Martin's Summer, Anne Hampton Brewster's second full-length novel, she was already the author of more than fifty short stories, poems, and essays that had appeared in such prominent venues as Godey's Lady's Book, Graham's American Monthly Magazine, Neal's Saturday Gazette, Lippincott's Magazine, the Atlantic Monthly, and Peterson's.1 Nonetheless, Brewster and this imaginative transformation of her first European Grand Tour in 1857–58, including interactions with utopian visionary and politician Robert (...) Dale Owen, remain relatively unknown in literary and utopian studies.2 St. Martin's Summer deserves more attention, especially among the latter, for the... (shrink)

In this first full-length study of male homosexuality in Cather's short stories and novels, John P. Anders examines patterns of male friendship ranging on a continuum from the social to the sexual. He reveals how Cather's work assumes an unexpected depth and complexity by drawing on both the familiar tradition of friendship literature inspired by classical and Christian texts and a homosexual legacy that is part of, yet distinct from, established literary traditions. Anders argues that Cather's artistic (...) achievement is distinguished by her sexual aesthetics, an elusive literary style inextricably associated with homosexuality. His analysis demonstrates how a homosexual ethos and eros helped Cather develop a sensitivity to human variation and a style to accommodate it and thus became the objective correlative of her art, dramatizing the diversity of human nature as it deepens the mystery of her work. (shrink)

This study examined the effects of emotional subject matter and descriptive style in short story excerpts on text (e.g. rich in meaning) and reader response-oriented (e.g. liking) ratings. Forty-eight subjects, including equal numbers of trained and novice male and female students, read two examples of each text twice and either generated or received interpretations between readings in a within-subjects design. In general, intellectual challenge slowed the pace of reading, whereas suspense-based arousal increased it. Emotional subject matter had a more (...) powerful effect than descriptive style on both cognitive (challenging, rich in meaning) and affective (expressive, personally relevant) scales and were read more quickly. Generating interpretations fostered subjective reactions to the Emotional excerpts (images), whereas Descriptive texts were less amenable to subjective responses. Consistent effects were also found for background and gender. As in everyday life, subject matter had a dominant effect in engaging a person's involvement. (shrink)

ResumoEste artigo analisa o reendereçamento da obra Fita verde no cabelo: nova velha estória ao público infantojuvenil. Em 1992, o conto de Guimarães Rosa foi reeditado pela Nova Fronteira, contando com novo projeto gráfico e com as ilustrações de Roger Mello, em edição dedicada ao público jovem. Além de observar o modo como a obra busca o diálogo com esse público em níveis textuais e imagéticos, o estudo concentra-se na análise das ilustrações. Verifica-se a hipótese de que as imagens, em (...) vez de apenas facilitarem a leitura para um público específico, expandem o sentido da obra original contemplando todos os públicos. Como resultado, demonstra-se a potência das imagens e sua capacidade de enriquecer a experiência de leitura do conto de Rosa.Palavras-chave: João Guimarães Rosa. Reendereçamento. Ilustração. AbstractThis article analyzes the readdressing of the work Fita verde no cabelo: nova velha estória to youth literature. In 1992, Guimarães Rosa's short story was reissued by Nova Fronteira. The book had a new graphic project by Roger Mello. This study focuses not only on how the story is looking for dialogue with the young audience in written-text and visual-image levels, but also in the analysis of illustrations. We verify the hypothesis that the images do not facilitate the reading process for a specific audience, for they are in turn ways to expand the meanings of the original work. The potential of those images is demonstrated along with their capacity to enrich the reading experience of Rosa's short story.Keywords: João Guimarães Rosa. Readdressing. Illustration. (shrink)

Though ordinary aesthetics is self-evident as a principle, fruitful as a method, it remains partly undefined. It seems the major difficulty is to mark out its territory, so much so as, after Wittgenstein, it endorses the most part of what used to pertain to ethics. Our hypothesis is that starting from art forms may prove helpful in defining ordinary aesthetics; and the article suggests that short-story writing is a paradigmatic pathway to ordinary aesthetics as it is to the ethical (...) unsaid. (shrink)

The paper contains a short story which is inconsistent, essentially so, but perfectly intelligible. The existence of such a story is used to establish various views about truth in fiction and impossible worlds.

From the 1890s on, the atheist philosopher F. Nietzsche exerted a profound and enduring impact on Russian religious, cultural, and social reality. The religious philosopher V.S. Solov'ëv perceived Nietzsche's thought as an actual threat to Russian religious consciousness and his own anthropological ideal of Divine Humanity. He was especially preoccupied with the idea of the Übermensch since sometwo decades before the Nietzschean Übermensch was popularized in Russia, Solov'ëv had already developed his own interpretation of the sverkhchelovek.

The photocycle of visual opsins is essential to maintain the light sensitivity of the retina. The early physical observations of the rhodopsin photocycle by Böll and Kühne in the 1870s inspired over a century's worth of investigations on rhodopsin biochemistry. A single photon isomerizes the Schiff‐base linked 11‐cis‐retinylidene chromophore of rhodopsin, converting it to the all‐trans agonist to elicit phototransduction through photoactivated rhodopsin (Rho*). Schiff base hydrolysis of the agonist is a key step in the photocycle, not only diminishing ongoing (...) phototransduction but also allowing for entry and binding of fresh 11‐cis chromophore to regenerate the rhodopsin pigment and maintain light sensitivity. Many challenges have been encountered in measuring the rate of this hydrolysis, but recent advancements have facilitated studies of the hydrolysis within the native membrane environment of rhodopsin. These techniques can now be applied to study hydrolysis of agonist in other opsin proteins that mediate phototransduction or chromophore turnover. In this review, we discuss the progress that has been made in characterizing the rhodopsin photocycle and the journey to characterize the hydrolysis of its all‐trans‐retinylidene agonist. (shrink)

The new concept of embodied cognition theories has been enthusiastically studied by the cognitive sciences, by as well as such disparate disciplines as philosophy, anthropology, neuroscience, and robotics. Embodiment theory provides the framework for ongoing discussions on the linkage between “low” cognitive processes as perception and “high” cognition as language processing and comprehension, respectively. This review gives an overview along the lines of argumentation in the ongoing debate on the embodiment of language and employs an ALE meta-analysis to illustrate and (...) weigh previous findings. The collected evidence on the somatotopic activation of motor areas, abstract and concrete word processing, as well as from reported patient and timing studies emphasizes the important role of sensorimotor areas in language processing and supports the hypothesis that the motor system is activated during language comprehension. (shrink)

This selection of short stories in world literature by both classical and contemporary writers offers a window to a wide range of ethical questions. The target audience are students in humanities courses in high school or college. The stories are organized by regions and by themes. Each story is linked up with articles in newspapers and magazines that address the theme raised in the short story. A few guiding questions are included to start the discussion.

We present an analysis of counterfactuals in terms of stories and combine it with an account similar to Walton’s account of truth in fiction to yield truth conditions for counterfactuals. We discuss unusual features of this account, and compare it to other main approaches. In particular, we argue that our analysis succeeds in accounting for counterpossibles and counterfactuals with true antecedents while the other two main approaches fail, and we give reasons for thinking that it is important to have (...) an adequate account of these two areas. (shrink)

RESUMO Os primeiros trabalhos de Bakhtin apontam as origens de sua teoria. O ineditismo deste artigo, então, consiste em comparar os trabalhos iniciais de Bakhtin, mais precisamente o ensaio “O autor e a personagem na atividade estética”, escrito nos anos 1920, com as visões de Tchékhov sobre a relação autor - personagem - leitor. Isso porque consideramos Tchékhov não apenas escritor, mas também teórico da criação verbal, o que mostraremos com trechos das suas cartas. Assim, o artigo apresenta uma análise (...) do conto “A dama do cachorrinho”, de Anton Tchékhov, e a tese de que Tchékhov teve, já a partir do título, a intenção de relacionar o seu conto com o romance A dama das camélias, de Alexandre Dumas Filho. (shrink)

It has recently been suggested that research in neuroscience of art has failed to bring art into focus in the laboratory. Two general arguments are brought to bear in the regard. The common perceptual mechanisms argument observes that neuroscientists working within this field develop models to explain art relative to the ways that artworks are fine-tuned to the operations of perceptual systems. However, these perceptual explanations apply equally to how viewers come to recognize and understand art and nonart objects and (...) events. Therefore these explanations fail to disambiguate artworks from other things. They fail to locate art. This observation points to a deeper problem. What interests us in art is how what we perceive has been used to show us what the work represents. Our understanding of art is governed by a range of productive and evaluative normative conventions that govern how we ought to look at a work and evaluate how it was made. The normative dimension of appreciation argument suggests that these aspects of our engagement with artworks lie outside the scope of neuroscientific explanations of art. This chapter provides a sketch of a diagnostic recognition framework for engaging art that resolves both problems and helps explains how artworks function within the social institution of the artworld to facilitate a communicative exchange between artists and consumers. (shrink)