William Faulkner (1897-1962), one of the United States’ most renowned authors, was born on Sept. 25, 1897, in New Albany, Mississippi. He initially focused on poetry, culminating in his first publication: "The Marble Faun" (1924). Subsequently, he transitioned to prose, producing novels such as "The Sound and the Fury" (1929), "As I lay Dying" (1930), "Light in August" (1932) and "Absalom, Absalom!" (1936), which are considered his most significant works. Like most of his oeuvre, these novels are set in a (...) fictional Southern region that Faulkner termed ‘Yoknapatawpha county.’ Nearly all works set in this fictional county are characterized by themes of race, incest, the American Civil War, and the decline of the antebellum South. Faulkner frequently employs diverse perspectives and techniques that directly represent the consciousness of his characters. Recognition for his literary achievements came relatively late in his career. The primary catalyst for this recognition was the Nobel Prize for Literature awarded to him in 1949, when he had arguably passed the zenith of his writing career. Faulkner’s extensive oeuvre, which spans from 1924 to 1962, also encompasses lesser-known works, such as Sanctuary (1931) and Intruder in the Dust (1948). In addition to novels, Faulkner authored numerous short stories that are considered among the finest in American literature. These include the story translated here, “Barn Burningr” originally published in 1939, in the June issue of Harper’s magazine. Faulkner died July 6 in Byhalia, Mississippi, of a heart attack. -/- In Dutch: William Faulkner (1897-1962) …, een van de beroemdste schrijvers uit de Verenigde Staten, werd geboren op 25 september 1897 in New Albany, Mississippi. Hij begon aanvankelijk met het schrijven van poëzie, wat resulteerde in zijn eerste publicatie: The Marble Faun (1924). Kort daarna liet hij poëzie voor wat het was en stortte hij zich op het proza. Dit leidde tot romans als The Sound and the Fury (1929), As I lay Dying (1930), Light in August (1932) en Absalom, Absalom! (1936) die als zijn belangrijkste werken worden beschouwd. Net als het merendeel van zijn oeuvre spelen deze romans zich af in een fictioneel Zuiden dat door Faulkner ‘Yoknapatawpha county’ genoemd werd. Vrijwel alle werken die zich in deze fictieve streek afspelen, worden gekenmerkt door thema’s als ras, incest, de Amerikaanse burgeroorlog en de teloorgang van het oude Zuiden. Faulkner maakt vaak gebruik van verschillende perspectieven en technieken die direct het bewustzijn van zijn personages representeren. Pas relatief laat in zijn carrière kreeg hij erkenning voor zijn literaire verdiensten. De belangrijkste stimulans hiervoor was de Nobelprijs voor de literatuur die hem werd toegekend in 1949, toen hij als schrijver eigenlijk al over zijn toppunt heen was. Faulkners omvangrijke oeuvre, dat ontstond in de periode van 1924 tot 1962, omvat ook minder bekende werken, zoals Sanctuary (1931) en Intruder in the Dust (1948). Naast romans schreef Faulkner echter ook nog een groot aantal korte verhalen die tot de absolute top van het Amerikaanse verhaal gerekend worden. Daartoe behoort ook het hier vertaalde verhaal ‘In vlammen op’ (‘Barn Burning’), dat oorspronkelijk werd gepubliceerd in 1939, in het juninummer van het tijdschrift Harper’s. Faulkner stierf op 6 juli in Byhalia, Mississippi, aan een hartaanval. -/- . (shrink)

The present study will introduce us into a new world of Chinese imagology in the 18th century in France. Different from the negative side of the “sinophobes” such as Montesquieu and François Melon, Sade built a universe of a perfect China in which all crimes were justified. Nevertheless, as a libertine, his point of view was also different from the famous “sinophiles”, La Mothe Le Vayer, Pierre Bayle, Leibniz or Voltaire, for example. China as imagined by Sade was full of (...) infanticide, murder and incest. The pictorial description he uses was largely drawn from the Jesuit literature of that time and some famous travelers’ “relation”, time of the famous theological quarrels about the ritual, easily interested Sade. But, was Sade faithful to these sources or not? Could a libertine moralize about public denunciation? By this foreign image as a mirror, what did he want to explain, taking China as an example, for his own culture? We will give the answers in this article. (shrink)

The article challenges conventional assumptions regarding the question of incest survival within contemporary discourses. A textual analysis of Kathryn Harrison's autobiographical novel tracing her consensual sexual relationship with her father is used to address the issue of failed or unresolved mourning as a prototypically ‘modern’ cultural phenomenon. Psychoanalytically informed feminist literary criticism is used to explore the parallels between the cultural construction of femininity and failed or postponed mourning in western historical and philosophical traditions. Following the work of Juliana (...) Schiesari and Kathleen Woodward, the article contends that melancholia is a gendered discourse that has historically privileged male theorists and film-makers, such as Barthes and Fassbinder. The article suggests that contemporary women writers, such as Harrison, are engaged in a revisionary approach to the construction of loss within their writing. By situating themselves at the heart of the contemporary family narrative, instead of the ‘melancholic’ margins, they are able to produce a counter-discourse that dispels the conventional dynamics of the traditional family romance. By using the ‘writing cure’ to overcome ideological loss, the desiring daughter is able to challenge misogynist constructions of femininity within contemporary literature. (shrink)

The themes of will and willing form a central but so far largely overlooked level of discourse in Hartmann’s Gregorius. At the heart of this discourse is the opposition between human and divine will, which is negotiated in terms of the tension between controllability and uncontrollability. To this end, Hartmann’s legendary romance takes recourse to a narrative pattern characteristic of, among others, the Latin legend of St. Brendan. Structuring the text and plot of Gregorius, it serves to present the protagonist’s (...) voyages on the water as a surrender to the will of God. When the protagonist decides to leave the monastery island, however, the pattern is conspicuously deviated from. It is through this deviation that the second instance of incest emerges as a personally attributable result of the protagonist’s attitude toward his creaturely will – which requires correction – rather than as guilt in the moral-theological sense. In Hartmann, a quasi-mystical theology of the will is molded into a narrative. In clear contrast to its French source, his adaptation thus reflects on the limits of human self-determination and controllability from an immanent perspective, the relationship to the world, as well as a transcendental perspective, the relationship to God. The prologue and Gregorius’s tablet suggest that Hartmann’s legend also deals with uncontrollability on a meta-level, as it ponders the problem of how the transcendent can be represented through narrative. (shrink)

_New Therapeutic Visions_ begins with Lachmann and Beebe's developmental perspectives on representational and selfobject transferences, followed by commentaries. In Section II, the self-psychological approach is brought to bear on the clinical treatment of an adolescent girl, incest survivors, addictive personalities, patients exhibiting codependency, and a case of desomatization. Section III, on applied self psychology, contains chapters on the theory of creativity; subjectivism, relativism, and realism in psychoanalysis; and quantum physics and self psychology. The final section offers two critical review (...) essays on major contributions to the self psychology literature by Wolf, by Bacal and Newman, and by Lichtenberg. Stolorow's chronicle of his personal odyssey into self psychology and intersubjectivity theory rounds out volume 8 of the Progress in Self Psychology series. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 29.2 (2005) 269-285 [Access article in PDF] Oedipus The King: Temperament, Character, and Virtue Grant Gillett Robin Hankey University of Otago I Recent discussions of ethics and literature suggest that there is a relationship between reading (or, better, immersing oneself in) literature (in particular, fiction) and the virtues. Nussbaum goes so far as to claim not only that good literature is conducive (...) to moral sense and sensibility but also that "the well-lived life is a work of literary art."1 The character development in most substantial fictional work that aims to engage us through its realism and truth to the human condition suggests that there is such a thing as a quasi-stable character and that an agent's character plays a significant role in the way not only that the person acts but also in the kinds of thing that happen to him or her. For a certain kind of virtue theorist, the internal harmony of character required for a person to do the right thing in a diverse range of situations involves cultivating exactly those skills required to live well. This thesis amounts to a claim that there is a close, indeed conceptual, relationship between right living and good living and that the type of character which results from cultivating the virtues is a character conducive to getting the best out of the situations that life throws in our way, whereas the vicious character reveals itself by causing strife, harm, and even tragedy.Gilbert Harman, criticizing virtue ethics on the basis of some key experiments in social psychology which have led to the idea of a "fundamental attribution error," argues that people do not have enduring character traits of the type required to sustain such a position.2 His critique has itself been attacked on the basis that what the experiments show is not the absence of character traits but their ability [End Page 269] to be influenced by the demands of a situation.3 Our objection is against the conception of virtues being attacked and also his sweeping conclusion about human nature and it has two strands. First we argue that phronesis, as the hallmark of a virtuous character, is a mix of skills, abilities, and attitudes honed in such a way as to allow the person to act fittingly in different life situations. Second, character runs true to type in an individual and even runs in families.We find support for both claims in Sophocles' Oedipus the King. This is, of course, a myth but one that has spoken to human beings across the ages and it recognizes both that different individuals show certain regularities in their modes of relationship and their conduct and that these tendencies are often familial, contributing significantly to the events marking family stories and traditions. Phronesis or practical wisdom is the skill to negotiate the challenges that life produces when fate deals one a hand of this (genetic and genealogical) kind. In the process of making the case we will support the claim that fiction "can significantly contribute to moral understanding by revealing what certain situations amount to" and therefore that it "can bring home to us the force of, for example, moral dilemmas" and indeed moral concepts, and we will use the Oedipus story to reflect on the lessons emerging from one version of virtue ethics.4We approach the Oedipus myth through Sophocles' tragedy in which an oracle about patricide and incest plays itself out in the lives of certain characters. The relevance for virtue ethics arises from the ways in which characters in the play react to their predicament and try to cope with the situations they must face. In moral life, individuals need to find strategies to deal with challenges they face both as individuals and as persons-in-relationships-with-others. The reactions portrayed in Oedipus make vivid not only the idea of character traits but also the role of virtue in moderating what we might do in situations that interact with our characters in potentially disastrous ways. II Harman's challenge begins... (shrink)

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

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

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 260-272 [Access article in PDF] Tragic Conflict and Greatness of Character Ariel Meira IT IS A SURPRISING FACT that some of our best literary examples of greatness of character are of persons acting in a way that involves them in a terrible burden of guilt. As spectators we perceive Oedipus, in Sophocles's Oedipus the King, 1 as one who upon discovering the identity (...) of his father and mother affirms that he bears guilt for killing the former and committing incest with the latter, and we typically concur in some vague way with his affirmation. 2 We do not, after all, think that his affirmation is merely the consequence of some confusion about morals on his part, and that he would have been more justified in treating his discovery with a light conscience. Furthermore, it seems that our conception of his greatness is intimately bound up with our being acquainted with him as someone who acted so as to render himself profoundly guilty in this way. What is paradoxical is that moral taint would be expected to reduce our admiration for a character and our attribution of greatness to it. Why then should noteworthy paradigms of greatness of character be morally tainted characters? Can we make sense of the idea that some kinds of guiltiness might be constitutive of greatness of character?As it is well-known, Aristotle says that in order for a tragedy best to achieve its desired effect, it should portray a protagonist "who is not pre-eminent in moral virtue, who passes to bad fortune not through vice or wickedness, but because of some hamartia...." 3 The term "hamartia" is variously translated as "piece of ignorance," "miscalculation," and "error of judgment," but as O. B. Hardison notes, it must be treated as designating a moral flaw, because it renders the protagonist [End Page 260] less than "pre-eminent in moral virtue." 4 However, even if the term is interpreted as covering what I have described as the moral taint associated with greatness of character, it should be clear that Aristotle does not provide here an answer to my question. At best he can be viewed as explaining why morally tainted characters of this sort are crucial to achieving tragic effect. He is not explaining how it is that such characters can be viewed as paradigms of greatness.I propose not to treat this paradox in its most general form, but rather by confining my attention to an interesting subclass of cases. What I have in mind are cases in which a protagonist finds himself or herself in what I shall call circumstances of tragic conflict. Such circumstances determine that a choice must be made between two (or perhaps more) courses of action, even though each of the courses involves the violation of an important moral claim, or the destruction of a crucial value. As spectators or readers, we typically perceive the protagonist as emerging with a heavy burden of guilt (much in the way noted above regarding Oedipus), and we recognize that he or she was bound to emerge guilty, no matter which course of action would have been chosen. Cases such as that of Agamemnon (bearing guilt for the sacrifice of his daughter Iphigenia in Aeschylus's Agamemnon), 5 of Jephthah (again bearing guilt for the sacrifice of his daughter, in Judges 11), 6 and of Orestes (bearing guilt for the murder of his mother Clytemnestra in Euripides's Orestes) 7 belong quite uncontroversially to this subclass. 8These protagonists make difficult choices, and carry them out with courage and resolution, qualities which explain to some extent our perception of them as possessing greatness of character. But in making their choice, they necessarily render themselves guilty, whether or not they have made the correct choice (assuming there is a correct choice in the circumstances). And we sense that suffering the peculiarly poignant pain which accompanies their guilty action is at least partly constitutive of their greatness. Clearly, we are faced again with the paradox of the association of guilt with greatness of character.In... (shrink)

The Four Branches of the Mabinogi is a work, or perhaps a cycle of four related works, composed in Middle Welsh prose probably near the end of the eleventh century and perhaps in southwest Wales. It is the most important surviving prose fiction produced in Britain before the romances of Malory four centuries later and is all the more valuable in that we do not have from medieval Britain, as we do from Ireland, a rich legacy of vernacular prose fiction. (...) It draws freely from a broad background of traditional narratives, many known to us primarily as oral folktales, and yet is certainly the work of an author, composed in writing: few of the telltale signs of oral composition appear in its controlled and economical style. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Confessions of a Poisoner, Written by HerselfGail K. Hart (bio)Confessions of a Poisoner, Written by Herself. Translated and introduced by Raleigh Whitinger and Diana Spokiene. New York: MLA, 2009. xliii + 196 pp. $12.95.Confessions of a Poisoner is an epistolary, autobiographical novel, first published anonymously in German as Bekenntnisse einer Giftmischerin in 1803. Lurid accounts of sex, incest, murder, and other crimes contributed to its status as (...) a sensational document in its day, especially in light of the illicit activities of the Countess Charlotte Ursinus, who was arrested and prosecuted for multiple poisonings allegedly committed between 1779 and 1803. Readers were eager for details of the countess's affairs and crimes, and the novel can indeed be read as an account, perhaps her account, of a very busy life of iniquity.The book is extremely engaging, and absorbing because our autobiographical narrator has unusually acute insight into human affairs and human character. From early youth, she finds pleasure in the art of seeming and she is proud of the skill with which she reads those who have something to offer her. Indeed the book could double as a seminar in social manipulation as the narrator negotiates her culture's obstacles to women's self-fulfillment. One is often reminded of George Lillo's murderous Millwood from The London Merchant, who in 1731 made the observation:It is a general maxim among the knowing part of mankind that a woman without virtue, like a man without honor or honesty, is capable of any action, though never [End Page 68] so vile. And yet what pains will they not take, what arts not use, to seduce us from our innocence and make us contemptible and wicked, even in their own opinions?(I:3)The narrator of Poisoner, though she might agree with Millwood, sees her part in the vile actions as both determined and chosen. The early steps of corruption were abetted by passion (incited with some calculation by early lovers) but also by the education she received, which she describes as being more masculine than feminine. Her father's failure to guide and restrain her thirst for knowledge has apparently left her with the ambitions of a conquerer and the social duties of an aristocratic woman—and, as Countess Orsina would have it, where men use daggers, women use poison. Yet she also accepts responsibility for all that she has done, quite convinced that most of it was wrong. The moral philosophy of the piece is somewhat peculiar, but she strives in the space of the one long letter that makes up the book to give an honest account of her duplicitous deeds.This intriguing life story also has significant scholarly value, and the editors/translators, Raleigh Whitinger and Diana Spokiene, have appended an excellent introduction that examines the poisoner's confessions as a document of its time. Our narrator is both wise and well-educated, and she discourses frequently on contemporary literature and philosophy, inserting herself into a variety of cultural debates. For example, her opinions on the value of Richardson's novels for the education and protection of young woman—that Richardson's ideals of virtue are delusional and therefore dangerous—run counter to prevailing wisdom on what young ladies should read. Her struggles with Kant and critical philosophy, which, she claims, diminished her pulchritude, are also instructive. Additionally, the editors make a very convincing case for the authorship of Friederike Helene Unger, whose husband was the publisher, and whose other works bear certain strong resemblances to the prose and the ideas of Poisoner.All of this excitement and knowledge comes to us in a supremely lucid and readable translation. I rarely read fiction in translation without being regularly reminded in some way of the translator. One sees an odd word, puzzles out a sentence and thinks about how one might have done that differently—and one gets distracted. That is not the case with this text, and this is especially surprising because the original German is that "of an era both culturally and historically distant" (xxvii). Whitinger and Spokiene have done a superb job of resurrecting a forgotten German text, embedding it in... (shrink)

In Glas Derrida asserts that Hegel’s Phenomenology of Spirit, in its reading of Antigone, favors consciousness (over the unconscious) by first acknowledging the achievement of ethical plenitude by Antigone, as she comes to full recognition of two contradictory laws, that of the divine and that of the communal spheres, and consequently repressing this speculative accomplishment by her fateful disappearance from both texts. This article complicates the argument by looking at the role that literature takes not only in philosophy, but (...) in the expression of speculative dialectics as such. What for Hegel can be included in a system? How does the impossible figure (Antigone), its expression and then exclusion enter and abandon the system? This text looks at war, burial and incest expressed by the role of Antigone in the Phenomenology of Spirit. (HC) © 2011 by The Board of Regents of the University of Wisconsin System . (shrink)

This paper provides a systematic literature review, analysis and discussion of methods that are proposed to practise ethics in research and innovation. Ethical considerations concerning the impacts of R&I are increasingly important, due to the quickening pace of technological innovation and the ubiquitous use of the outcomes of R&I processes in society. For this reason, several methods for practising ethics have been developed in different fields of R&I. The paper first of all presents a systematic search of academic sources (...) that present and discuss such methods. Secondly, it provides a categorisation of these methods according to three main kinds: ex ante methods, dealing with emerging technologies, intra methods, dealing with technology design, and ex post methods, dealing with ethical analysis of existing technologies. Thirdly, it discusses the methods by considering problems in the way they deal with the uncertainty of technological change, ethical technology design, the identification, analysis and resolving of ethical impacts of technologies and stakeholder participation. The results and discussion of our literature review are valuable for gaining an overview of the state of the art and serve as an outline of a future research agenda of methods for practising ethics in R&I. (shrink)

This collection emphasizes a cross-disciplinary approach to the problem of scale, with essays ranging in subject matter from literature to film, architecture, the plastic arts, philosophy, and scientific and political writing. Its contributors consider a variety of issues provoked by the sudden and pressing shifts in scale brought on by globalization and the era of the Anthropocene, including: the difficulties of defining the concept of scale; the challenges that shifts in scale pose to knowledge formation; the role of scale (...) in mediating individual subjectivity and agency; the barriers to understanding objects existing in scalar realms different from our own; the role of scale in mediating the relationship between humans and the environment; and the nature of power, authority, and democracy at different social scales. (shrink)

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

Poetry of life in literature and through literature, and the vast territory in between - as vast as human life itself - where they interact and influence each other, is the nerve of human existence. Whether we are aware of it or not, we are profoundly dissatisfied with the stark reality of life's swift progress onward, and the enigmatic and irretrievable meaning of the past. And so we dramatise our existence, probing deeply for a lyrical and heartfelt yet (...) universally valid sense of our experience. It is in great works of literature that we seek those hidden springs that so move us. It is in honour of this search that this collection focuses on the creative imagination at work in literature and aesthetics. (shrink)

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

Through the examination of anti-psychiatric theory and literary texts, this timely and thought-provoking volume explores the possibilities of liberating our habitual patterns of perception and consciousness beyond the confines of a capitalist era. In Post-Capitalist Subjectivity in Literature and Anti-Psychiatry, Skott-Myhre asks the question, how might we be different if we didn't live in a capitalist society? By drawing on Marxist and post-Marxist theory, and conducting nuanced analysis of the professional writings of anti-psychiatrists including Basaglia and Laing, and the (...) work of fiction writers Kafka and Garcia Marquez, the text identifies alternative conceptualizations of the self. Focusing in particular on portrayals of institutions and the family, Skott-Myhre proposes that these social systems offer new modes of reading the world and ourselves which will transform social organization and free subjectivity from dominant capitalist structures. This transdisciplinary text responds to a revitalized interest in alternatives to traditional psychology, an interest in life beyond capitalism, and the crisis in the traditional family. Post-Capitalist Subjectivity in Literature and Anti-Psychiatry will offer timely reading for graduate students, researchers, and scholars in the fields of cultural studies, psychology, philosophy, family studies, and interdisciplinary studies. (shrink)

As evidenced in literature, physicians vary in their emotional devotion to patients. John Steinbeck's physicians are aloof. The doctors of William Carlos Williams and Richard Selzer form strong, complicated, emotional attachments to their patients. These attachments allow them to live fuller, more sensuous lives, without interfering with their proper functioning as healthcare providers. F. Scott Fitzgerald's Dr. Diver overly commits himself to a patient and suffers the consequences. The present-day physician can help modulate his own emotional connections to patients (...) by examining these literary models. (shrink)

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

This paper responds to a piece of dialogue from Flora Nwapa’s novel Women are Different, in which Comfort mockingly says, “They took up the job voluntarily. Now you will soon tell us that they are celibate because of us.” There are two different interpretations of the use of “because,” and the claim is obviously false on only one of these.

Looking at representations of the Irish landscape in contemporary literature and the arts,this volume discusses the economic, political and environmental issues associated with it, questioning the myths behind Ireland's landscape, from the first Greek descriptions to present day post Celtic-Tiger architecture.

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

This article concerns the ways in which authors from various fields conceptualise the ethical issues arising in the conduct of research. We reviewed critically and systematically the literature concerning the ethics of conducting research in order to engage in a reflection about the vocabulary and conceptual categories used in the publications reviewed. To understand better how the ethical issues involved in conducting research are conceptualised in the publications reviewed, we 1) established an inventory of the conceptualisations reviewed, and 2) (...) we critically assessed them. We found that the publications reviewed mostly showed examples of descriptive ethics, in that most authors describe ethical issues without reflecting much on them, which could be explained both by 1) a lack of ethical education in research contexts, and 2) by the fact that we do not know what researchers know (or do not) about ethical issues. Additionally, the definitions identified in the publications are scarce and at times imprecise, but this seems more to point out the ethical vocabulary’s difficulties in certain contexts. Further, very few authors offer proper conceptualisations of the ethical issues arising in conducting research. When dealing with vast arrays of ethical issues to conceptualise, perhaps one ought to remember that some typologies already exist that could guide further reflection and help understand other realities for which the current ethical vocabulary may be lacking. We believe that combining the reviewed typologies, both with other well-developed typologies and critical reflection, could help support better ethical practice in conducting research. (shrink)

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

Very little research into women farmers in developed countries has been produced by economists, but much of what has been studied by scholars in other disciplines has economic implications. This article reviews such research produced by scholars in all disciplines to explore to what extent women farmers are becoming more equal to men farmers and to suggest further contributions to the literature. As examples, topics that has been widely researched in developing countries but have received almost no attention in (...) developed countries include comparisons of men and women farmers’ productivity and their access to and use of resources. Discoveries in these and other areas will be important not only for their insights into the agricultural industry in developed countries, but also because they will inform, and be informed by, research on women farmers in developing countries. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Pleasures of FictionDenis DuttonHuman Beings Expend staggering amounts of time and resources on creating and experiencing art and entertainment—music, dancing, and static visual arts. Of all of the arts, however, it is the category of fictional story-telling that across the globe today is the most intense focus of what amounts to a virtual human addiction. A recent government study in Britain showed that if you add together annual (...) attendances in plays and cinema with hours watching television drama, the average Briton spends roughly 6% of all waking life watching dramatic performances. And that figure does not even include books and magazines: further vast numbers of hours spent reading short stories, bodice-rippers, mysteries, and thrillers, as well as so-called serious fictions, old and new.The origins of this obsession with comic and dramatic fictions are lost in remote prehistory, as lost as the origins of language itself. But like language, we know the obsession with fiction is universal: stories told, read, and dramatically or poetically performed are independently invented in all known cultures, literate or not, having advanced technologies or not. Wherever printing arrives, it is used to reproduce fictions. Whenever television appears in the world, soap operas soon show up on the schedule. Both the forms that fiction takes and the ideas, types of characters, and kinds of conflict that make up its content can be shown to be strikingly similar across cultures. It has specialist practitioners—rhapsodes, novelists, playwrights, actors—and is governed both informally with stylistic conventions and sometimes formally—for example, by censorship laws. A love of fiction is as universal as governance, marriage, jokes, religion, and the incest taboo. [End Page 453]The question for any general aesthetics is: Why? Joseph Carroll is a literary theorist who has applied his probing mind over the last decade to the origins, nature, and functions of literary experience. His new collection of essays and reviews, Literary Darwinism: Evolution, Human Nature, and Literature (Routledge, $85.00 boards, $23.95 paper) looks at literature and literary theory through the lens of evolutionary psychology. At the same time, Carroll's eye is that of an extremely perceptive literary critic. In fact, I would judge him to be one of the most acute and knowledgeable readers of fiction I've ever encountered. It should not come as a surprise, therefore, that he is sometimes dubious, or even scathing, about evolutionary explanations of literature that have been offered up by writers whose grasp of psychology exceeds, in his opinion, their command of high literature. His complaints, however, are not to the fundamental notion that evolution by natural and sexual selection have made human beings into the story-loving animals they have become: his adjustments are intended to increase the accuracy and usefulness of Darwin's revolution. However critical he is of evolutionary psychologists, Carroll remains a Darwinian through and through.Carroll holds that the only way to attain a general theory of literature is through an account of human nature that builds from the ground up, from the most basic conditions for the evolution of the human species. A Darwinian literary theory first needs a Darwinian psychology. Once we have a basic Darwinian psychology in place, we can see that the narrative proclivities of human beings, far from being an incidental by-product of the evolved mind, are central to some of its most human functions. The structures of basic motives and dispositions are what would be appropriate for a species, as Carroll describes it, that "is highly social and mildly polygynous, that displays concealed ovulation, continuous female receptivity, and postmenopausal life expectancy corresponding to a uniquely extended period of childhood development, that has extraordinary aptitudes for technology, that has developed language and the capacity for peering into the minds of its conspecifics, and that displays a unique disposition for fabricating and consuming aesthetic and imaginative artifacts." Such a list alone, he contends, would make it impossible to imagine a blank-slate view of the mind, in which the mind evolves in a vacuum, goes onto produce culture, which then gives back to the mind all content and structure.Some of the mental processes that grow from... (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

The notion of aesthetic illusion relates to a number of art forms and media. Defined as a pleasurable mental state that emerges during the reception of texts and artefacts, it amounts to the reader's or viewer's sense of having entered the represented world while at the same time keeping a distance from it. Aesthetic Illusion in Literature and the Arts is an in-depth study of the main questions surrounding this experience of art as reality. Beginning with an introduction providing (...) historical background to modern discussions of illusion, it deals with a wide range of theoretical issues. The collection explores the nature and function of the aesthetic illusion as well as the role of affect and emotion, the implications of aesthetic illusion for the theory of fiction, the variable forms of aesthetic illusion and its relationship to other components of aesthetic response. Aesthetic Illusion in Literature and the Arts brings together a team of scholars from philosophy, literature and art and presents an interdisciplinary examination of a concept lying at the heart of contemporary aesthetics. (shrink)

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference - including, as a special case, metareference (the self-conscious reflection on music, literature and other medial (...) concerns) - is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies. (shrink)

Senshu University has hosted many international conferences on medieval English literature - primarily on Geoffrey Chaucer and William Langland - as well as in the related fields of Old Germanic, medieval French and Renaissance Italian literature. These international collaborations inform and contribute to the present volume, which addresses the heritage bequeathed to medieval English language and literature by the classical world.<BR> This volume explores the development of medieval English literature in light of contact with Germanic and (...) Old Norse cultures, on the one hand, and Romance languages, on the other. The book includes a comparative study of <I>Beowulf in the Germanic context, discusses aspects of <I>Piers Plowman and its tradition, and offers philological approaches to Chaucer (especially his <I>Troilus and Criseyde). The articles assembled here collectively suggest how the torches of classical learning were carried from continental Europe to illuminate the pages of medieval English literature. (shrink)

In this contribution, we focus on teaching and assessment in school-based activities involving the oral transmission of texts at school entry in multilingual contexts. We analyze activities involving listening and oral exchanges between five-year-olds and their teacher about the comprehension of children's literature. Our analyses show that the challenge of oral interactions in the professionalization of teachers lies in the delimitation of a common, shared space for speech between the teacher and the class collective, and that the story-character system (...) provides a framework for structuring these interactions in heterogeneous, multilingual contexts. (shrink)

In the history of Islamic thought, it is prominent to examine the sects according to certain facts. In this research, it is aimed to read the development of the sect through aqāid works by taking the aqāid texts into the center. By centering Ash'ariyyah, we determine the aqāid literature of this sect in general terms and center two Ash‛ari aqāid works. These two aqāid texts that we have examined are the works identified with the Seljuk and Ottoman madrasahs. Al-Juwaynī’s (...) al-Aqīda an-Nizamiyyāh and al-Ījī’s al-Aqāid al-adudiyya hare extremely valuable identity texts in terms of Ash‛arī aqāid tradition. As a product of the Seljuk world of thought, al-Juwaynī’s work deals with aqāid issues with much broader titles and explanations. Al-Juwaynī lists his criticisms by targeting Mu‛tazila on most issues. Al-Ījī’s al-Aqāid al-adudiyya is one of the basic books of Ottoman madrasahs. In al-Ījī’s work, on the other hand, plain narration and a concise aqāid presentation attract attention. When we look at the work, it draws attention that the audience has changed and the opposition to the Mu‛tazilite is not too dominant. In addition, while a political interpretation over the imamate/caliphate issue is included in the creed in al-Ījī’s text, virtuousness, which is the perception of the Sunni companions, is also emphasized. The aqāid works of al-Juwaynī and al-Ījī bear the traces of the historical development of Ash‛arism, depending on their addressees, the period in which they were written, and many other reasons. (shrink)

In browsing the contents of this book, my first thought was, “Well, sure, to a hammer everything looks like a nail.” Or, more cryptically to those in earshot, I uttered, “Well, sure, once you've made it through Ulysses everything can sound like Joyce.” But the joy and mental workout of All Future Plunges come not from nitpicking particular Joycean tropes or images but rather from considering Joyce as a cultural phenomenon for all who followed to engage with, immerse themselves in, (...) and speak to. His works anchor Vergara's five case studies in twentieth-and twenty-first-century Russian literature (Olesha, Nabokov, Bitov, Sokolov, and Shishkin). Joyce is deployed as a source of intertexts and influences and as the lens through which the Russian works are read. Vergara includes “points of contact” for each author to show knowledge of Joyce as well as the context in which Joyce was being read and discussed in Soviet, émigré, and post-Soviet literary spheres. The framing work on intertextuality is significant in its own right and leads to compelling notions of how literary influences can be detected and discussed. Behind it all looms the bespectacled presence of Joyce (gazing out from the book's cover in pop-art primary colors) with his Oedipal tensions, modern epic style, bawdy language, and sonorous prose. But essentially what Vergara's book gives us is a glimpse of creative and smart people reading the work of another creative smart person.Vladimir Nabokov, an outspoken devotee of Joyce, had a peculiar rationale for not believing in heaven. He wrote that even if, in the afterlife, he found himself in paradise surrounded by all of his dead loved ones, he would not be able to shake the gnawing doubt that at any point these beloved phantoms might pull off their masks and reveal themselves to be demons. After reading All Future Plunges, a similar fear may grip the reader of modernist literature—that the many varied and nuanced references we find in these works may one day all prove to be simply myriad instantiations of Joyce in disguise. But even when that happens, I suppose we may still think to call it heaven. (shrink)

In the 1990s, have long been into the "limbo" of literary criticism and ethics scholars quietly occupied the United States. In the post-modern context, the literary criticism of the ethical shift is not a simple return to tradition, but was given a new meaning and carry a new mission. Engaged in literary criticism of the construction of ethical theorists because of their different starting points and strategies basically two camps: the new humanism and deconstruction were sent, who together constitute a (...) post-modern context of the ethical criticism of American literature the landscape. Ethic criticism dominated American literary criticism once again in 1990's, though for a long time it was marginized. However, the ethics turn of literary criticism in the post modern context is not simply a returning to tradition, instead, it was endowed with new connotation therefore equipped with new missions. Varied in starting points and strategies, critics devoted to ethic criticism could roughly be divided into two parts: that of ness humanism and of deconstruction. The work together and form a postmodern brilliant ethic landscape in American criticism. (shrink)