128 research outputs found
Joyce's noises
Molly Bloom is lying restlessly in bed, her head next to her husband's feet, counting the days until she will next be with her lover, Blazes Boylan: "Thursday Friday one Saturday two Sunday three O Lord I cant wait till Monday" (Joyce, U 18.594-95).1 The next item we see on the page--one can hardly call it a word--is a bizarre string of letters: "frseeeeeeeefronnnng" (U 18.596). All in lower case, it begins the fourth of the so-called sentences of the final episode of Ulysses. Its challenge to our reading of the episode is multiple: it is unpronounceable, at least according to the norms of the English language; it is meaningless; and it is hardly conceivable as part of Molly's thought processes in the way that everything in the chapter up to this point has been. Joyce does not leave us mystified for long, however: the verbalized thoughts that follow this strange irruption explain what it is doing here: "train somewhere whistling the strength those engines have in them like big giants" (U 18.596-97). Distant train whistles may more usually evoke associations of travel, separation, nostalgia, or longing, but Molly's response is clearly colored by her active desire for the man she has just called, with obvious relish, a "savage brute" (U 18.594).Issue title: Sound Effects
âTo speak of this you would need the tongue of a godâ: On Representing the Trauma of Township Violence
Esse artigo trata da representação literĂĄria de traumas como os massacres urbanos na Ăfrica do Sul nas obras de trĂȘs autores, J.M.Coetzee, Age of Iron, AndrĂ© Brinkâs An Act of Terror and Elsa Joubert, The Long Journey of Poppie Nongena. A comparação das respectivas tĂ©cnicas narrativas coloca a questĂŁo se o autor tem, ou nĂŁo, o poder e a autoridade de falar em nome do outro (oprimido)
The Craft of Poetry
This book presents an innovative format for poetry criticism that its authors call "dialogical poetics." This approach shows that readings of poems, which in academic literary criticism often look like a product of settled knowledge, are in reality a continual negotiation between readers. But Derek Attridge and Henry Staten agree to rein in their own interpretive ingenuity and "minimally interpret" poems â reading them with careful regard for what the poem can be shown to actually say, in detail and as a whole, from opening to closure. Based on a series of emails, the book explores a number of topics in the reading of poetry, including historical and intellectual context, modernist difficulty, the role of criticism, and translation. This highly readable book will appeal to anyone who enjoys poetry, offering an inspiring resource for students whilst also mounting a challenge to some of the approaches to poetry currently widespread in the academy
What Do We Mean by Experimental Art?
This essay explores and evaluates a number of possible ways in which the phrase âexperimental artâ might be understood, considering several particular examples. âExperimentalâ may be understood purely on the basis of the scientific model, though this is not what we usually mean by the term. The experimental quality of art is more likely to be understood as a matter of degree of innovation, though this approach is rendered problematic when put in a historical context. We are more liable to call something an experiment when it does not lay the foundations for a new movement, but is something of a dead-end. It may be thought that the size of the audience is important, experimental art often being of minority interest, but some counter-examples are cited. The next question the essay considers is: âIs experimental art always a matter of technique â of a trying-out of new forms? Or is it possible to be experimental in terms of content alone?â Experimental art as commonly understood often means not fully achieved art. The essay then sets the term âexperimentalâ next to another term, âinventiveâ, drawing on the work of Jacques Derrida. Inventive art is very like experimental art, challenging the status quo, going beyond the âpossibleâ, introducing that which is uncategorizable and unmarketable. The paradigmatic experimental work of art, perhaps, is one that is highly innovative in form, but doesnât entirely succeed in what it attempts; it bears the marks of the artistâs trial-and-error procedures; it is appreciated by the few rather than the many; and it remains outside the mainstream of artistic production.Cet article explore et Ă©value les diffĂ©rentes maniĂšres de comprendre lâexpression âlâart expĂ©rimentalâ, en se basant sur des exemples prĂ©cis. âExpĂ©rimentalâ peut ĂȘtre entendu comme Ă©tant entiĂšrement basĂ© sur un modĂšle scientifique, mĂȘme si ce nâest pas ainsi quâon lâentend habituellement. La qualitĂ© expĂ©rimentale de lâart est cependant beaucoup plus liĂ©e Ă un degrĂ© dâinnovation quâelle introduit, bien que cette approche puisse ĂȘtre problĂ©matique quand on la replace dans un contexte historique. Il est plus probable que nous dĂ©signions une Ćuvre comme âexpĂ©rimentaleâ quand elle ne pose pas les fondations dâun nouveau mouvement, mais quâelle reprĂ©sente plutĂŽt une impasse. On peut penser que lâampleur du public qui lâapprĂ©cie est importante, lâart expĂ©rimental nâĂ©tant souvent intĂ©ressant que pour une minoritĂ© de personnes, mais on peut trouver des contre-exemples. La question que se pose ensuite lâarticle est la suivante : « est-ce que lâart expĂ©rimental est toujours une question de technique, dâexpĂ©rimentation autour de formes nouvelles ? Ou bien est-il possible dâĂȘtre expĂ©rimental seulement au niveau du contenu ? » Lâart expĂ©rimental tel quâon le conçoit dâordinaire est souvent un art qui nâest pas totalement achevĂ©. Lâarticle confronte le terme dâ« expĂ©rimental » avec celui dâ« inventif », en se basant sur lâĆuvre de Jacques Derrida. Lâart inventif est trĂšs semblable Ă lâart expĂ©rimental, il remet en question le status quo, va au-delĂ des possibles, introduit ce qui nâest pas catĂ©gorisable ni commercialisable. LâĆuvre dâart expĂ©rimentale paradigmatique est peut-ĂȘtre celle qui est trĂšs innovante au niveau formel mais ne rĂ©ussit pas tout Ă fait Ă atteindre le but recherchĂ©. Elle porte la marque de la procĂ©dure de tĂątonnement de lâartiste, elle est apprĂ©ciĂ©e par quelques-uns plutĂŽt que par le plus grand nombre, et elle reste en dehors de la production artistique standard
Creativity and commerce: Michael Klinger and new film history
The crisis in film studies and history concerning their legitimacy and objectives has provoked a reinvigoration of scholarly energy in historical enquiry. 'New film history' attempts to address the concerns of historians and film scholars by working self-reflexively with an expanded range of sources and a wider conception of 'film' as a dynamic set of processes rather than a series of texts. The practice of new film history is here exemplified through a detailed case study of the independent British producer Michael Klinger (active 1961-87) with a specific focus on his unsuccessful attempt to produce a war film, Green Beach, based on a memoir of the Dieppe raid (August 1942). This case study demonstrates the importance of analysing the producer's role in understanding the complexities of film-making, the continual struggle to balance the competing demands of creativity and commerce. In addition, its subject matter - an undercover raid and a Jewish hero - disturbed the dominant myths concerning the Second World War, creating what turned out to be intractable ideological as well as financial problems. The paper concludes that the concerns of film historians need to engage with broader cultural and social histories. © 2010 Taylor & Francis
Untranslatability and the challenge of world literature : a South African example
What are called 'natural languages' are artificial, often politically instituted and regulated, phenomena; a more accurate picture of speech practices around the globe is of a multidimensional continuum. This essay asks what the implications of this understanding of language are for translation, and focuses on the variety of Afrikaans known as Kaaps, which has traditionally been treated as a dialect rather than a language in its own right. An analysis of a poem in Kaaps by Nathan Trantraal reveals the challenges such a use of language constitutes for translation. A revised understanding of translation is proposed, relying less on the notion of transfer of meaning from one language to another and more on an active engagement with the experience of the reader
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