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Selves and Others in Society and Scholarship
Volume Editors: R. Corbey and J.Th. Leerssen
Author: F.B.J. Kuiper
A Festschrift in Honor of Frank Paul Bowman by his Colleagues, Friends and Former Students
Avantgarde – Avantgardekritik – Avantgardeforschung
Volume Editors: Wolfgang Asholt and Walter Fähnders
Volume Editors: Eric Vos and Johanna Drucker
This book addresses the major critical and interpretive issues of contemporary experimental poetic texts.
Critical approaches, historical contexts, and basic concepts are surveyed in two introductory essays, while the study of poetic movements in historical context and the chronological trajectory of production of experimental texts are discussed in the first major segment of the volume, Experimentation in Its Historical Moment. The principal topic addressed here is the nature of experimental poetry in revolutionary social contexts.
The second major theme, focused upon in the section Experimentation in the Language Arts, is that of language as a vehicle for experiments and cognitive quests, aimed not at the production of truth or social emancipation but at experiential aspects of language and language use. Haroldo de Campos's fragmented poetic prose work Galàxias is a highlighted topic of attention, as are poetic and language experiments in Lettrism, Fluxus, sound poetry, and new technological poetries.
The development of the basic tenets of Concrete poetry and current critical perspectives on its status in poetical experimentation constitute the basis of the third section of the book, Concrete and Neo-Concrete Poetry. The relationship of historical Concrete poetry to artistic genres is presented, with special emphasis on Brazil and on contemporary visual writing. The section Memoirs of Concrete, in the context of oral history, includes retrospective accounts by two of Concrete poetry's most renowned editors.
The closing section of this book presents statements on the theory and practice of avant-garde poetry by 22 participants in the Yale Symphosymposium on Contemporary Poetics and Concretism.
Die Fackel; Die Weltbühne; Anbruch; Le Disque vert; Mécano; Versty
Volume Editor: Sophie Levie
This study of six early twentieth-century periodicals serves to refine the traditional image of the inter-war journal as the pre-eminent vehicle of artistic and intellectual renewal. Every periodical has its own history but general themes are clearly identified. Traces emerge of a common commitment to the internationalisation of the arts and we find early and unexpected discussion of Freud, Chaplin and Joyce in Brussels and Berlin, jazz in Vienna and Brussels, Ezra Pound in the Netherlands and Belgium. In contrast to this internationalisation are the ambitions of the various editors to play a significant role in their national cultures. This tension between national and international influences was in the first instance stimulating and innovative. Later, as a result of political and socio-economic developments, the newly achieved openness and exchange were gradually diminished and finally disappeared as did the periodicals themselves.
Selected Papers from the Fifth International Bakhtin Conference University of Manchester, July 1991
Editor: David Shepherd
Author: Elly Vijfvinkel
Volume Editors: Leigh Dale and Simon Ryan
The body is increasingly understood as being at the centre of colonial and post-colonial relationships and textual productions. Creating and circulating images of the undisciplined body of the 'other' was and is a critical aspect of colonialism. Likewise, resistance to colonial practices was also frequently corporeal, with indigenous peoples appropriating, parodying, and subverting those European practices which were used to signify the 'civilized' status of the colonizing body. The Body in the Library reads representations of the corporeal in texts of empire; case studies include:
• gendered representations of corporeality
• medical régimes
• ethnography and photography in the Pacific
• cultural transvestism in theatre
• disease and colonial knowledge generation
• 'freak shows' and colonial exhibits
• cinematic representations of bodies
• geography and the metaphorization of land as a penetrable body
• marketing the body
• organ transplants and the limits of the post-colonial paradigm
In viewing colonialism and resistance as a bodily phenomenon, The Body in the Library enables new perspectives on the process of colonization and resistance. It is an important resource for teachers and students of colonial and post-colonial literatures.
Anthony Ernst Munnikhuisen and Bernardus Brunius, and the First Dutch Edition of 'Tristram Shandy' (1776-1778)
A Bookseller's Hobby-Horse, and the Rhetoric of Translation is a study of the first Dutch translation of Tristram Shandy (1759-67) as a product of and factor in the reception of Sterne's novel in the Netherlands, and as a specific manifestation of this reception: a derived text based on interpretation of the original. It took sixteen years for this translation to appear. Why was this so? And why did its publication (1776-79) prove unrewarding to the publisher? To answer the first question, Agnes Zwaneveld relates the development of Sterne appreciation in the Netherlands — from neglect in the 1760s to a literary craze in the 1780s — to a number of socio-cultural factors, including a growing interest in German literature. This relation with German literature is reflected in the choice of books published by A.E. Munnikhuisen, a Sterne-enthusiast and conscientious publisher, but also an outsider in the book trade, whose audacity led to the commercial failure of his enterprise.
A different question tackled in this study is to what extent the translation reflects the original text. Can it be accepted as a faithful rendering, or rather as an adaptation, an imitatio in the classical tradition? To understand what norms the translator, Bernardus Brunius, followed and what effects he can have been aiming at, his work is described in terms of the — rhetorical — theory of translation adhered to in his day. To avoid subjectivity in assessing the resemblance between translation and original, the comparison focuses on composition and the use of rhetorical figures as formal aspects which can be easily recognised across the centuries. The textual comparison was limited to the opening chapter of Tristram Shandy, seen as the novel's exordium, in which both author and translator are likely to have made a show of their intentions. Close reading of this chapter resulted in an interpretation of Tristram's authorial performance as inspired by both Quintilian and Longinus.