868 resultados para Literary forgeries and mystifications.


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Cette lecture, tant critique, comparative, et théorique que pédagogique, s’ancre dans le constat, premièrement, qu’il advient aux étudiantEs en littérature de se (re)poser la question des coûts et complicités qu’apprendre à lire et à écrire présuppose aujourd’hui; deuxièmement, que nos pratiques littéraires se trament au sein de lieux empreints de différences, que l’on peut nommer, selon le contexte, métaphore, récit, ville; et, troisièmement, que les efforts et investissements requis sont tout autant couteux et interminable qu’un plaisir et une nécessité politique. Ces conclusions tendent vers l’abstrait et le théorique, mais le langage en lequel elles sont articulées, langage corporel et urbain, de la dépendance et de la violence, cherche d’autant plus une qualité matérielle et concrète. Or, l’introduction propose un survol des lectures et comparaisons de Heroine de Gail Scott qui centre ce projet; identifie les contextes institutionnels, historiques, et personnels qui risquent, ensuite, de décentrer celui-ci. Le premier chapitre permet de cerner le matérialisme littéraire qui me sert de méthode par laquelle la littérature, à la fois, sollicite et offre une réponse à ces interrogations théoriques. Inspirée de l’œuvre de Gail Scott et Réjean Ducharme, premièrement, et de Walter Benjamin, Elisabeth Grosz, et Pierre Macherey ensuite, ‘matérialisme’ fait référence à cette collection de figures de pratiques littéraires et urbaines qui proviennent, par exemple, de Georges Perec, Michel DeCerteau, Barbara Johnson, et Patricia Smart, et qui invitent ensuite une réflexions sur les relations entre corporalité et narrativité, entre la nécessité et la contingence du littéraire. De plus, une collection de figures d’un Montréal littéraire et d’une cité pédagogique, acquis des œuvres de Zygmunt Bauman, Partricia Godbout, et Lewis Mumford, constitue en effet un vocabulaire nous permettant de mieux découvrir (et donc enseigner) ce que lire et apprendre requiert. Le deuxième chapitre propose une lecture comparée de Heroine et des romans des auteures québécoises Anne Dandurand, Marie Gagnon, et Tess Fragoulis, dans le contexte, premièrement, les débats entourant l’institutionnalisation de la littérature (anglo)Québécoise et, deuxièmement, des questions pédagogiques et politiques plus larges et plus urgentes que nous pose, encore aujourd’hui, cette violence récurrente qui s’acharna, par exemple, sur la Polytechnique en 1989. Or, cette intersection de la violence meurtrière, la pratique littéraire, et la pédagogie qui en résulte se pose et s’articule, encore, par le biais d’une collection de figures de styles. En fait, à travers le roman de Scott et de l’œuvre critique qui en fait la lecture, une série de craques invite à reconnaître Heroine comme étant, ce que j’appelle, un récit de dépendance, au sein duquel se concrétise une temporalité récursive et une logique d’introjection nous permettant de mieux comprendre la violence et, par conséquent, le pouvoir d’une pratique littéraire sur laquelle, ensuite, j’appuie ma pédagogie en devenir. Jetant, finalement, un regard rétrospectif sur l’oeuvre dans son entier, la conclusion de ce projet se tourne aussi vers l’avant, c’est-à-dire, vers ce que mes lectures dites matérialistes de la littérature canadienne et québécoise contribuent à mon enseignement de la langue anglaise en Corée du Sud. C’est dans ce contexte que les propos de Jacques Rancière occasionnent un dernier questionnement quant à l’historique des débats et des structures pédagogiques en Corée, d’une part, et, de l’autre, les conclusions que cette lecture de la fiction théorique de Gail Scott nous livre.

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Although ways of thinking about the past have changed, in Britain the reporting of excavations has followed a series of shared conventions for nearly 100 years. This article considers two of them. It investigates the relationship between accounts of stratigraphic evidence and the publication of the associated artefacts and ecofacts and suggests that it results from the combination of two separate intellectual traditions in the late nineteenth century. It also identifies certain widely shared proportions between the separate components of excavation monographs published over a long period of time. Their existence has never been acknowledged. The excavation report has become a well-established literary genre and authors who are familiar with such texts unconsciously reproduce the same structures in their writing.

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A chapter of 6,000 words on books, literary culture, and public and private libraries in the ancient city of Rome

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The academic discipline of television studies has been constituted by the claim that television is worth studying because it is popular. Yet this claim has also entailed a need to defend the subject against the triviality that is associated with the television medium because of its very popularity. This article analyses the many attempts in the later twentieth and twenty-first centuries to constitute critical discourses about television as a popular medium. It focuses on how the theoretical currents of Television Studies emerged and changed in the UK, where a disciplinary identity for the subject was founded by borrowing from related disciplines, yet argued for the specificity of the medium as an object of criticism. Eschewing technological determinism, moral pathologization and sterile debates about television's supposed effects, UK writers such as Raymond Williams addressed television as an aspect of culture. Television theory in Britain has been part of, and also separate from, the disciplinary fields of media theory, literary theory and film theory. It has focused its attention on institutions, audio-visual texts, genres, authors and viewers according to the ways that research problems and theoretical inadequacies have emerged over time. But a consistent feature has been the problem of moving from a descriptive discourse to an analytical and evaluative one, and from studies of specific texts, moments and locations of television to larger theories. By discussing some historically significant critical work about television, the article considers how academic work has constructed relationships between the different kinds of objects of study. The article argues that a fundamental tension between descriptive and politically activist discourses has confused academic writing about ›the popular‹. Television study in Britain arose not to supply graduate professionals to the television industry, nor to perfect the instrumental techniques of allied sectors such as advertising and marketing, but to analyse and critique the medium's aesthetic forms and to evaluate its role in culture. Since television cannot be made by ›the people‹, the empowerment that discourses of television theory and analysis aimed for was focused on disseminating the tools for critique. Recent developments in factual entertainment television (in Britain and elsewhere) have greatly increased the visibility of ›the people‹ in programmes, notably in docusoaps, game shows and other participative formats. This has led to renewed debates about whether such ›popular‹ programmes appropriately represent ›the people‹ and how factual entertainment that is often despised relates to genres hitherto considered to be of high quality, such as scripted drama and socially-engaged documentary television. A further aspect of this problem of evaluation is how television globalisation has been addressed, and the example that the issue has crystallised around most is the reality TV contest Big Brother. Television theory has been largely based on studying the texts, institutions and audiences of television in the Anglophone world, and thus in specific geographical contexts. The transnational contexts of popular television have been addressed as spaces of contestation, for example between Americanisation and national or regional identities. Commentators have been ambivalent about whether the discipline's role is to celebrate or critique television, and whether to do so within a national, regional or global context. In the discourses of the television industry, ›popular television‹ is a quantitative and comparative measure, and because of the overlap between the programming with the largest audiences and the scheduling of established programme types at the times of day when the largest audiences are available, it has a strong relationship with genre. The measurement of audiences and the design of schedules are carried out in predominantly national contexts, but the article refers to programmes like Big Brother that have been broadcast transnationally, and programmes that have been extensively exported, to consider in what ways they too might be called popular. Strands of work in television studies have at different times attempted to diagnose what is at stake in the most popular programme types, such as reality TV, situation comedy and drama series. This has centred on questions of how aesthetic quality might be discriminated in television programmes, and how quality relates to popularity. The interaction of the designations ›popular‹ and ›quality‹ is exemplified in the ways that critical discourse has addressed US drama series that have been widely exported around the world, and the article shows how the two critical terms are both distinct and interrelated. In this context and in the article as a whole, the aim is not to arrive at a definitive meaning for ›the popular‹ inasmuch as it designates programmes or indeed the medium of television itself. Instead the aim is to show how, in historically and geographically contingent ways, these terms and ideas have been dynamically adopted and contested in order to address a multiple and changing object of analysis.

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In 1917 D.H. Lawrence's whole outlook on the social and cultural environment of his country was embodied in his attitude towards the literary marketplace. The suppression of The Rainbow in 1915 and his opposition to the war contributed to his feeling of detachment from what he called ‘the bourgeois world, the world which controls press, publication and all’. Presenting new archival evidence, this article examines the publishing history of the poetry volume Look! We Have Come Through, issued by Chatto & Windus in 1917. Closer examination of the motives of the individual editors involved in the production of the volume reveals why Lawrence was required to make changes to his text but also why the firm were eager to publish a volume that was to have little commercial impact. Issued at a critical moment in Lawrence's relationship with the marketplace, and in the history of literary modernism, the episode shows how, in spite of general hostility to his work, there were forces in the mainstream publishing market that were keen to embrace modern literary forms and take risks with the work of authors whose subject-matter was challenging and potentially dangerous.

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The fascinating idea that tools become extensions of our body appears in artistic, literary, philosophical, and scientific works alike. In the last fifteen years, this idea has been re-framed into several related hypotheses, one of which states that tool use extends the neural representation of the multisensory space immediately surrounding the hands (variously termed peripersonal space, peri-hand space, peri-cutaneous space, action space, or near space). This and related hypotheses have been tested extensively in the cognitive neurosciences, with evidence from molecular, neurophysiological, neuroimaging, neuropsychological, and behavioural fields. Here, I briefly review the evidence for and against the hypothesis that tool use extends a neural representation of the space surrounding the hand, concentrating on neurophysiological, neuropsychological, and behavioural evidence. I then provide a re-analysis of data from six published and one unpublished experiments using the crossmodal congruency task to test this hypothesis. While the re-analysis broadly confirms the previously-reported finding that tool use does not literally extend peripersonal space, the overall effect-sizes are small and statistical power is low. I conclude by questioning whether the crossmodal congruency task can indeed be used to test the hypothesis that tool use modifies peripersonal space.

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In a Report for the Society of Bookmen in 1928, British publishers estimated that between a quarter to two thirds of all the books they published went to four circulating libraries: Boots, Smith’s, Mudie’s, and The Times bookclub. This essay examines the literary impact of one of the largest of these, Boots Book-lovers’ Library (1899-66), which by 1935 had around 400 libraries attached to their high-street pharmacies catering for the tastes of over one million subscribers a year. Compared to the wealth of studies examining the influence of the library market in the Victorian period, the significance of the subscription libraries as key distributors of fiction in the twentieth century is not well known. But private libraries expanded rapidly in the early twentieth century to cater for what Sidney Dark termed a ‘new reading public’, and records in publishers’ archives indicate that authors routinely adapted their unpublished manuscripts in order to meet the perceived demands of this library reader. This article examines the impact of the Boots Book-lovers’ Library market on authors’ practices of writing and revision, and on literary marketing and censorship. It focuses in particular on the author James Hanley (1897-1985), using unpublished correspondence in the Chatto & Windus archive at the University of Reading to demonstrate how the publisher’s sense of the tastes and expectations of the Boots library reader influenced the editorial process.

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This article presents a fresh perspective on cultural policy in revolutionary Cuba, focusing specifically on the centrality of dialogue with the general readership to the production, reception and regulation of literature. It first summarises the positions regarding revolutionary literature that have been asserted and essayed at various points along the sometimes chaotic trajectory of revolution in Cuba. It then examines reading-related policies and recent attempts within Cuba to re-orient reading practices in the aftermath of the Período Especial [Special Period], and ends by presenting current Cuban debates on the need to mitigate dialogic breakdown between literary text and readership.

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Virgil's poetry has frequently appeared in illustrated editions, and has regularly provided subjects for other works of art, including some of the most celebrated masterpieces of the western tradition. In view of its constant appropriation in literary contexts over the course of the centuries, we might expect the famous fourth Eclogue (the so-called ‘messianic’ eclogue) to have exerted more of an impact on visual culture than it appears to have done. This paper considers some of the possible reasons for the apparent scarcity of engagement with Virgil's poem beyond the literary sphere, and examines the uses to which the poet's text is put when it does make an appearance in visual media — perhaps more often than has sometimes been supposed.

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This doctoral dissertation analyzes two novels by the American novelist Robert Coover as examples of hypertextual writing on the book bound page, as tokens of hyperfiction. The complexity displayed in the novels, John's Wife and The Adventures of Lucky Pierre, integrates the cultural elements that characterize the contemporary condition of capitalism and technologized practices that have fostered a different subjectivity evidenced in hypertextual writing and reading, the posthuman subjectivity. The models that account for the complexity of each novel are drawn from the concept of strange attractors in Chaos Theory and from the concept of rhizome in Nomadology. The transformations the characters undergo in the degree of their corporeality sets the plane on which to discuss turbulence and posthumanity. The notions of dynamic patterns and strange attractors, along with the concept of the Body without Organs and Rhizome are interpreted, leading to the revision of narratology and to analytical categories appropriate to the study of the novels. The reading exercised throughout this dissertation enacts Daniel Punday's corporeal reading. The changes in the characters' degree of materiality are associated with the stages of order, turbulence and chaos in the story, bearing on the constitution of subjectivity within and along the reading process. Coover's inscription of planes of consistency to counter linearity and accommodate hypertextual features to the paper supported narratives describes the characters' trajectory as rhizomatic. The study led to the conclusion that narrative today stands more as a regime in a rhizomatic relation with other regimes in cultural practice than as an exclusively literary form and genre. Besides this, posthuman subjectivity emerges as class identity, holding hypertextual novels as their literary form of choice.

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(De)colonization Through Topophilia: Marjorie Kinnan Rawlings’s Life and Work in Florida attempts to reveal the author’s intimate connection to and mental growth through her place, namely the Cross Creek environs, and its subsequent effect on her writing. In 1928, Marjorie Kinnan Rawlings and her first husband Charles Rawlings came to Cross Creek, Florida. They bought the shabby farmhouse on Cross Creek Road, trying to be both, writers and farmers. However, while Charles Rawlings was unable to write in the backwoods of the Florida Interior, Rawlings found her literary voice and entered a symbiotic, reciprocal relationship with the natural world of the Cracker frontier. Her biographical preconditions – a childhood spent in the rural area of Rock Creek, outside of Washington D. C. - and a father who had instilled in her a sense of place or topophilia, enabled her to overcome severe marriage tensions and the hostile climate women writers faced during the Depression era. Nature as a helping ally and as an “undomesticated”(1) space/place is a recurrent motif throughout most of Rawlings’s Florida literature. At a time when writing the American landscape/documentary and the extraction of the self from texts was the prevalent literary genre, Marjorie Kinnan Rawlings inscribed herself into her texts. However, she knew that the American public was not yet ready for a ‘feminist revolt’, but was receptive of the longtime ‘inaudible’ voices from America’s regions, especially with regard to urban poverty and a homeward yearning during the Depression years. Fusing with the dynamic eco-consciousness of her Cracker friends and neighbors, Rawlings wrote in the literary category of regionalism enabling her to pursue three of her major aims: an individuated self, a self that assimilated with the ‘master narratives’ of her time and the recognition of the Florida Cracker and Scrub region. The first part of this dissertation briefly introduces the largely unknown and underestimated writer Marjorie Kinnan Rawlings, providing background information on her younger years, the relationship toward her family and other influential persons in her life. Furthermore, it takes a closer look at the literary category of regionalism and Rawlings’s use of ‘place’ in her writings. The second part is concerned with the ‘region’ itself, the state of Florida. It focuses on the natural peculiarities of the state’s Interior, the scrub and hammock land around her Cracker hamlet as well as the unique culture of the Florida Cracker. Part IV is concerned with the analysis of her four Florida books. The author is still widely related to the ever-popular novel The Yearling (1938). South Moon Under (1933) and Golden Apples (1935), her first two novels, have not been frequently republished and have subsequently fallen into oblivion. Cross Creek (1942), Rawlings’s last Florida book, however, has recently gained renewed popularity through its use in classes on nature writers and the non-fiction essay but it requires and is here re-evaluated as the author’s (relational) autobiography. The analysis through place is brought to completion in this work and seems to intentionally close the circle of Rawlings’s Florida writings. It exemplifies once more that detachment from place is impossible for Rawlings and that the intermingling of life and place in literature, is essential for the (re)creation of her identity. Cross Creek is therefore not only one of Rawlings’s greatest achievements; it is more importantly the key to understanding the author’s self and her fiction. Through the ‘natural’ interrelationship of place and self and by looking “mutually outward and inward,”(2) Marjorie Kinnan Rawlings finds her literary voice, a home and ‘a room of her own’ in which to write and come to consciousness. Her Florida literature is not only product but also medium and process in her assessment of her identity and self. _____________ (1) Alaimo, Stacy. Undomesticated Ground: Recasting Nature as Feminist Space (Ithaca: Cornell UP, 2000) 23. (2) Libby, Brooke. “Nature Writing as Refuge: Autobiography in the Natural World” Reading Under the Sign of Nature. New Essays in Ecocriticism. Ed. John Tallmadge and Henry Harrington. (Salt Lake City: The U of Utah P, 2000) 200.

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Mr. Gajevic traced the development of literacy and literature in Bosnia and Herzegovina from the 12th to the 19th in relation to other south Slavic literatures and civilisations, studying their interrelations, links and influences. From the 12th to the 15th centuries, literature in this area developed under strong influence from the neighbouring South Slavic countries, which were directly connected with more developed foreign cultures and civilisations. The literatures of these countries had differing religious and cultural backgrounds, some developing under Byzantine and Orthodox influence and others as a part of Latin civilisation and the Catholic religion. This led to different and sometimes contradictory literary, religious and other influences on Bosnia and Herzegovina, making spiritual and religious unity for the country virtually impossible. Under the influence of the Bosnian state and church, however, there were signs of a search for compromise, leading to some mixing of the difference traditions. Following the Turkish conquest, however, three denominational communities (Orthodox, Catholic and Muslim) developed in Bosnia and Herzegovina and this became the general framework for life, including literature. This led to three separate literary traditions - Serb-Orthodox, Croat-Catholic and Bosniac-Islamic. This internal disintegration of Bosnian literature did however facilitate the process of integration of some of its denominational traditions with similar traditions in other countries. The third aspect considered in the research was the genesis and expansion of vernacular and folk literature from Bosnia and Herzegovina throughout the South Slavic areas and its contribution to the language and literature integration of four peoples - Serbs, Croats, Bosniacs and Montenegrins. Of special interest here were the aspirations of the Catholic church to establish the Bosnian language as the common South Slavic literary language for its religious and propaganda activities, and the contribution of Vuk Stefanovic Karadzic to the effort to establish the "Bosnian language" as the common literary language of the South Slavic peoples.

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The Third Section was an instrument not so much of oppression as of information, propaganda and education. Under Nicholas I, the press did not represent public opinion, but rather the official point of view. It was intended to shape public opinion rather than to express it and much of the Third Section's activity focused on creating the best possible contacts with journalists and men of letters. The Third Section supervised literary activities by examining works in print and collecting information through its agents. It rewarded those authors whose work was approved by the emperor, it used writers to pursue its goals, especially in order to "direct minds", but acted as a mediator between the tsar, censors and writers, or sometimes as arbiter in conflicts between writers themselves, and it also acted as a censor. Writers, for their part, served in the Third Section, becoming its agents or consultants, delivering reports to it and writing texts commissioned by the Section. The majority of writers did not see any problems with serving or assisting the Third Section. Ideologies offering an alternative to state monarchism /in professional literature or individual liberalism/ were very weak. The only exception was a small group, mostly composed of eminent and highly educated aristocrats who possessed alternative moral and financial resources. Reitblat showed that the strong ties maintained by some journalists and writers with the Third Section were not unfortunate exceptions due to the low moral qualities of those individuals, but rather a natural phenomenon which reflected the specific nature of the Russian literary system and, more generally, of Russian society as a whole.