Everyday writing in Graeco-Roman and late antique Egypt : outline of a new research programme

In October 2017, the European Research Council awarded a Starting Grant to Klaas Bentein for his project EVWRIT: Everyday writing in Graeco-Roman and Late Antique Egypt: A socio-semiotic study of communicative variation. In what follows, the research goals, methodology, and corpus of this new project are briefly outlined

Eulogizing Realism : Documentary Chronotopes in Nineteenth-Century Prose Fiction

In this contribution we try to probe the generic chronotope of realism, which, judging from its astonishing productivity in the nineteenth century and the profound impact it has had on literary evolution and theory ever since, can be designated nothing less than a hallmark in the general history of narrative. Although we are primarily concerned with the description of the principles of construction underlying the realistic, “documentary”, chronotope, we would also like to touch upon some of its rather evident, but still somewhat under-discussed similarities with the genre of historiography. For, despite an abundance of what could be called “touches of realism” in a plethora of literary texts and genres (both narrative and poetic) since the very beginnings of literary history itself, the direct germs of realism as it developed into a particular narrative genre or generic chronotope during the nineteenth century may well be situated in “prescientific” historiographical works such as those of Gibbon or Michelet

The Retranslation and Mediated Translation of Audiovisual Content in Multilingual Spain: Reasons and Market Trends

Retranslations are the second, third, fourth or nth-translations of the same text produced at a later stage. In the case of audiovisual content, retranslations occur under certain circumstances. Focusing on Spain as a multilingual country, where regional languages demand new translations, frequently conceived as mediated translations, this article concentrates on the definition of retranslation and the differences between retranslation and mediated translation, and also lists the major reasons why retranslations, be them redubbings or resubtitlings, are commissioned and carried about. Economic, historical, linguistic and political issues triggering retranslations will also be dealt with, and some translatological conclusions will be drawn, as well as some new avenues of research grounded on retranslations

(G)hosting television: Ghostwatch and its medium

This article’s subject is Ghostwatch (BBC, 1992), a drama broadcast on Halloween night of 1992 which adopted the rhetoric of live non-fiction programming, and attracted controversy and ultimately censure from the Broadcasting Standards Council. In what follows, we argue that Ghostwatch must be understood as a televisually-specific artwork and artefact. We discuss the programme’s ludic relationship with some key features of television during what Ellis (2000) has termed its era of ‘availability’, principally liveness, mass simultaneous viewing, and the flow of the television super-text. We trace the programme’s television-specific historicity whilst acknowledging its allusions and debts to other media (most notably film and radio). We explore the sophisticated ways in which Ghostwatch’s visual grammar and vocabulary and deployment of ‘broadcast talk’ (Scannell 1991) variously ape, comment upon and subvert the rhetoric of factual programming, and the ends to which these strategies are put. We hope that these arguments collectively demonstrate the aesthetic and historical significance of Ghostwatch and identify its relationship to its medium and that medium’s history. We offer the programme as an historically-reflexive artefact, and as an exemplary instance of the work of art in television’s age of broadcasting, liveness and co-presence

Internal Chronotopic Genre Structures : The Nineteenth-Century Historical Novel in the Context of the Belgian Literary Polysystem

One of the most fundamental problems of systemic approaches to literature is the question of how systemic principles might be translated into a manageable methodological framework. This contribution proposes that a combination of functionalistsystemic theories (in casu Itamar Even-Zohar’s Polysystem theory – especially the textually oriented versions – and the prototypical genre approach proposed by Dirk De Geest and Hendrik Van Gorp 1999) with Mikhail Bakhtin’s chronotope theory shows great promise in this respect. Since I am primarily interested in literary genres, the prototypical genre approach assumes a central position in my theoretical framework. My main argument is that Bakhtin’s chronotope concept offers interesting perspectives as a heuristic tool within a functionalist-systemic approach to genre studies, enabling the study not only of the constitutive elements of genre systems, but also of their mutual relations. Bakhtin’s own vague definitions of the concept somewhat hamper the process of putting it into practice for this purpose, but with the aid of the distinction between generic and motivic chronotopes, that problem can be solved. A detailed, comprehensive account of the theoretical premises underlying my proposal can be found in Bemong (under review); here I restrict myself to the basics

Dimensions of social meaning in post-classical Greek towards an integrated approach

Especially in the first half of the twentieth century, language was viewed as a vehicle for the transmission of facts and ideas. Later on, scholars working in linguistic frameworks such as Functional and Cognitive Linguistics, (Historical) Sociolinguistics and Functional Sociolinguistics, have emphasized the social relevance of language, focusing, for example, on linguistic concepts such as deixis, modality, or honorific language, or embedding larger linguistic patterns in their social contexts, through notions such as register, sociolect, genre, etc. The main aim of this article is to systematize these observations, through an investigation of how the central, though ill-understood notion of “social meaning” can be captured. The starting point for the discussion is the work that has been done in the framework of Systemic Functional Linguistics. This framework distinguishes “social” (“interpersonal”) meaning from two other types of meaning, and offers a typology of different types of contexts with which these different meanings resonate. In order to achieve a more satisfactory account of social meaning, however, I argue that we need to connect to a theory of how signs convey meaning. The discussion is relevant for Ancient Greek in its entirety, but focuses specifically on Post-classical Greek: as a case study, I discuss five private letters from the so-called Theophanes archive

Ein Pakt mit dem Teufel : Leni Riefenstahl, Triumph of the Will, and the Nature of Guilt

Leni Riefenstahl’s Triumph of the Will is rightly considered a massive technical achievement in the world of cinema and propaganda. However, this achievement was undertaken at the behest of the immoral, murderous regime of Nazi Germany, a regime that Riefenstahl was more than willing to work with and glorify in order to further her career. This thesis will argue that Riefenstahl’s onscreen deification of Hitler, visual representation of völkisch ideology, and use of the music of Richard Wagner make her later claims of ignorance as to the film’s ultimate meaning impossible to correlate with established facts

"Author! Author!" : Shakespeare and biography

Original article can be found at: http://www.informaworld.com/smpp/title~content=t714579626~db=all Copyright Informa / Taylor & Francis Group. DOI: 10.1080/17450910902764454Since 1996, not a year has passed without the publication of at least one Shakespeare biography. Yet for many years the place of the author in the practice of understanding literary works has been problematized, and even on occasions eliminated. Criticism reads the “works”, and may or may not refer to an author whose “life” contributed to their meaning. Biography seeks the author in the works, the personality that precedes the works and gives them their characteristic shape and meaning. But the form of literary biography addresses the unusual kind of “life” that puts itself into “works”, and this is particularly challenging where the “works” predominate massively over the salient facts of the “life”. This essay surveys the current terrain of Shakespeare biography, and considers the key questions raised by the medium: can we know anything of Shakespeare's “personality” from the facts of his life and the survival of his works? What is the status of the kind of speculation that inevitably plays a part in biographical reconstruction? Are biographers in the end telling us as much about themselves as they tell us about Shakespeare?Peer reviewe

"Living So Far From Words" : Intertextuality, Trauma and the Post-Shoah World of Medbh McGuckian’s Blaris Moor

Peer reviewedPostprin