… „… es tönet das Blatt …” Hölderlin, Mnemosyné
∵ The question how the reader may hear the lyrical voice is far from involving only the narrower mediological aspect of language. Moreover the attention to medial conditions further strengthens the recognition about relying of texts on the reading
This book is a scholarly collection of interdisciplinary perspectives and practices that examine the positive potential of attending to the voices and stories of those who live and work with illness in real world settings. Its international contributors offer case studies and research projects illustrating how illness can disrupt, highlight and transform themes in personal narratives, forcing the creation of new biographies. As exercises in narrative development and autonomy, the evolving content and expression of illness stories are crucial to our understanding of the lived experience of those confronting life changes. The international contributors to this volume demonstrate the importance of hearing, understanding and effectively liberating voices impacted by illness and change. Contributors include Tineke Abma, Peter Bray, Verusca Calabria, Agnes Elling, Deborah Freedman, Alexandra Fidyk, Justyna Jajszczok, Naomi Krüger, Annie McGregor, Pam Morrison, Miranda Quinney, Yomna Saber, Elena Sharratt, Victorria Simpson-Gervin, Hans T. Sternudd, Mirjam Stuij, Anja Tramper, Alison Ward and Jane Youell.
Jane Austen’s worldwide popularity is not least due to the remaking of her novels for the visual media. Of the fifty-odd Austen related productions since 1938, forty-three of them adapt her novels to the various screens of cinema, television, computer and tablet. However, her attraction for film-makers is undoubtedly promoted by her own qualities. As a novelist, Jane Austen has been particularly recognized for her ironic voice, which dominates all her stories and gives the readers a peculiar perspective on her world. Do film-makers want this, and if so, how do they transmit her attitude of amused distance? In the present book, Marie N. Sørbø investigates the function and targets of irony in two novels and seven films.
Irony and Idyll is the first book-length study of Austen’s irony since 1952, and the only comparative analysis of all the available screen adaptations of
Pride and Prejudice and
Mansfield Park. On the bicentenary of their publication, these novels continue to influence modern culture.
What does the word “quest” conjure up? A journey in the hope of fulfillment, an exploration of identities, questions, the nature of research itself, or the darker side of quest in the form of conquest, colonisation and displacement? These are some of the threads taken up and developed in this collection of essays by established and emerging scholars. Germaine Greer, Italo Calvino, Umberto Eco, Serge Doubrovsky, A. S. Byatt, Novalis, Melville, Valéry, Beckett, Stanislao Nievo, Victor Segalen, Sibilla Aleramo, Dacia Maraini, Defoe, Tournier, Coetzee, Sor Juana Inés de la Cruz, Cintio Vitier, Domingo del Monte, Ramón de Palma, Pablo Armando Fernández, Hubert Aquin, Anne Hébert , Homer, Proust, Balzac and Robbe-Grillet provide the literary voices that invite these scholars to embark on their own quests into subjects as diverse as the relationships between texts, authors and readers, the initiatic journey, spirituality and enlightenment, female autobiography and identity, oppression, imperialism and postcolonial discourses, not to mention the history of the quest itself. The result is a rich tapestry of thought-provoking insights into the inexhaustible connections between literature and quest.
Sound Effects combines literary criticism and psychoanalytic theory in eleven original articles which explore the potential of the object voice as an analytic tool to approach fiction. Alongside the gaze, the voice is Jacques Lacan’s original addition to the set of partial objects of classical psychoanalysis, and has only recently been theorised by Mladen Dolar in
A Voice and Nothing More (2006). With notable exceptions like Garrett Stewart’s
Reading Voices (1990), the sonorous element in fiction has received little scholarly attention in comparison with poetry and drama.
Sound Effects is a contribution to the burgeoning field of sound studies, and sets out to fill this gap through selective readings of English and American fiction of the last two hundred years.
Contributors: Fred Botting, Natalja Chestopalova, Mladen Dolar, Matt Foley, Alex Hope, Phillip Mahoney, Sylvia Mieszkowski, Jorge Sacido-Romero, Marcin Stawiarski, Garrett Stewart, Peter Weise, and Bruce Wyse.
The spirit of the narrative is mankind’s reflexive consciousness, or poetic genius ‒ our unique access to ourselves, our desperate endeavour “
to be REAL”. It brings to light the dark unknown which is the zest of our lives; it gives shape to the tremor of our inner souls ‒ otherwise nearly imperceptible. “Ah, what is it? ‒ that I heard”, Katherine Mansfield wondered throughout her whole life and writings ‒ poems and stories, letters and notebooks. Through the metamorphic movement of her highly sensitive, perceptive mind, she highlights the deep ambivalence of light and dark, mirth and awe, fear and longing which is the keen feature of our naked existence. She sketches her epic motifs with a dedicated sense of wonder.
A true poet, she returns, as Baudelaire, Keats, Hopkins, Proust, or Shakespeare, to the origins of language ‒ this poignant contrast of light and dark following the alternate rhythm of night and day, of yielding to darkness and converting it into speech: “Let there be light.” Poetic language is performative. It means an everlasting questioning over the abyss ‒ with wings of wonder upon the face of the deep.
This volume will also be of interest to scholars and dedicated readers who wish to share in the current reassessment of Katherine Mansfield’s poetic achievement. Her awareness of the literary tradition and modernity, the utmost finesse of her artistic thought, the boldness of her temper make her a major twentieth-century poet.
Diaristic writing has often been relegated to the fringes of literary studies as a marginal cultural activity. This volume seeks to challenge that marginality by exploring some of the wide-ranging forms of literary practice encompassed by diaristic writing in Europe from the Renaissance to the present day. The volume deals with questions of the value and status of the diary, of the functioning of the diary in society and history, and of the reception and interpretation of the multifarious forms of first-person daily writing. The volume investigates diaries across national borders and linguistic boundaries, so as to make the hitherto marginal place of the private journal a site of fruitful interdisciplinary encounters. Australian, British, Catalonian, French, German and Italian critics examine diaries dating from the sixteenth to the twentieth century, within the context of the literature, history and literary history of Catalonia, England, France, Germany and Italy. A prime concern of the essays in this collection is to highlight the cultural, generic and historical diversity of the diary, while emphasising the points of convergence between different texts and differing critical approaches to the texts. The volume will be of interest to students and teachers of European and comparative literature.
What are fear, horror, and terror? This question, central to our endeavour, cannot be answered by one unified voice. It always cracks, falters, and fades before it can fully enunciate its proclamation. We, the authors, know this and have planned accordingly.
This volume presents meditations on this issue springing from the four corners of intellectual inquiry. Each author provides a distinctive approach with which to address the issue at hand. Literary theory, psychoanalysis, media studies, political science, and many more disciplines occupy the same space between the covers of this book. We hope that through the cacophony of our diversity we will fill in the inevitable gaps when our voices fall short.
This essay uses the work of Adam Thorpe (b. 1956) and in particular his first novel Ulverton (1992) to examine a number of features of the georgic in English fiction. These include the presentation of a rural provincial world that is not idealized, and a specific interpretation of the country-city debate (itself amply examined by Raymond Williams) in terms of the deracination experienced by characters who leave the country for the city. After presenting a broad context from nineteenth-century fiction to the other novels of Adam Thorpe, the essay focuses on one episode from Ulverton to show how the themes of non-idealization and deracination are bound up with the disempowerment caused by illiteracy, and the consequences of illiteracy for the suppression of voice. The entire constellation of issues serves to critique the assumption that rustic life represents some kind of ideal.
The sacred occupies a central place in the poetry of Guillevic, who described himself as a 'matérialiste religieux'. This study, informed by anthropological and psychoanalytical thought, examines the evolution of this aspect of his
Terraqué (1942) through to the poet's last works and focuses in particular on the relation between the sacred and the mother figure. A semiotic approach is used for close textual analysis of key poems. Guillevic's poetic endeavour is conceived as an archaeological quest whereby the presence of the archaic within the domain of the real is disclosed and mythical patterns emerge. The re-enactment of the cosmogony, the performance of ritual and the process of mourning - all crucial to poetic creativity itself - are identified as motivating forces through which the poet seeks reparation of the mother.
This study will be of interest to undergraduate and postgraduate students as well as to teachers of French literature, and will provide a useful introduction to those who may be unfamiliar with the unique voice of this major 20th century poet.