44 research outputs found
The play of codes and systems in pygmalion: Bernard Shaw and Roland Barthes
In Pygmalion, George Bernard Shaw deals with the social function of language (linguistic competence) as one of the markers of social status and as a source of social power. Pygmalionâs plot revolves around the linguistic idea of the critical period hypothesis. The linguist in the play bets that the phonetician cannot change the flower girl into a lady by teaching her a genteel language. The phonetician intends to flaunt his power and skill in fashioning a new âselfâ for the florist girl through linguistic retraining, even though her âcritical periodâ is over. Though this acculturation leads to a crisis of personality for the girl, Shawâs play goes against the hypothesis of âcritical periodâ by showing the possibility of the language retraining of a grown-up girl. Drawing on the theories of Roland Barthes, this article examines the relation between education and the issues of social mobility and cultural codes in the class-conscious society of Pygmalion. Pygmalion could be read as indicating that culture does not come by nature and it is made of codes, which can be taught and learned. Shaw suggests that it is possible to educate lower class people in upper class cultural codes. Moreover, he demonstrates that culture is time-bound and the boundaries between lower and upper class cultural codes were fading at the time so that it was difficult to distinguish a real upper class agent from a fake one
Fiction absolute and ethics: Tom Wolfeâs back to blood
Tom Wolf once more in his last novel Back to Blood (2012) has taken the issue of race and ethnic tensions as
one of its primary themes and this time he has chosen the city of Miami, home to the highest proportion of
foreign-born residents of any US major metropolitan area. This novel looks into the interethnic relationships
among the Cuban immigrants, Haitians, and American whites and blacks. Applying Emmanuel Levinasâs theory
of alterity and ethics of sensibility to Back to Blood could be rewarding since it sheds light on the interethnic
tensions present among different groups of people whose only concern is their own âbloodâ and their own race.
We argue that Wolfeâs novel, read in terms of ethics of sensibility, with its emphasis on the responsibility of one
for the naked, universal Other, reveals how altericide and indifference towards the plight of the Other lie at the
heart of most interethnic tensions and conflicts
John Donne's metaphors of self and empire: a cognitive analysis
Donne's strategies to win the authority of the 'domain' of love in his poetry are attempts to claim a personal
domain for himself. This essay focuses on this personal domain in order to analyse the concept of self in
Donne's poetry. Lakoff and Johnson's discussion about the basic metaphors embedded in our childhood by
which we conceptualise the notion of self presents the cognitive bases of Donne's different metaphors of self.
Significantly, as a poet of late Renaissance, Donne's metaphors have close association with imperial and
colonial patterns. Combining insights from cognitive poetics and Edward Said's views about culture and
imperialism, the writers try to look into the way the poet uses these metaphors to fashion a sense of
communal/national identity. The essay will further focus on the multiple representations of self in Donne's
poetry and the paradoxical signification of his identity
LIFE IS A PLAY: reading David Mamet's sexual perversity in Chicago and Glengarry Glen Ross through Cognitive Poetics
One of the concerns of Cognitive Poetic critics has been with the issue of how literary authors make meaning by
means of metaphor. Building on the Cognitive Linguistic theories of metaphor, the field of Cognitive Poetics has
been concerned, among its many diverse areas, with the studying of metaphor in literary texts. Proposing the
Conceptual Metaphor Theory (CMT), cognitive linguists George Lakoff and Mark Johnson argued in
Metaphors We Live By that our conceptual system is metaphorically shaped. In addition, they claimed that the
metaphoric linguistic expressions are the manifestation of the fundamental conceptual metaphors forming
individuals' cognitions. Conceptual metaphors were defined as the underlying structures of these expressions by
means of which people comprehend intangible concepts through more tangible ones. Using the Conceptual
Metaphor Theory (CMT), the present essay explores the conceptual metaphor of LIFE IS A PLAY in David
Mamet's Sexual Perversity in Chicago and Glengarry Glen Ross. In these plays, Mamet depicts a world in
which performance, in its theatrical sense, becomes the characters' survival strategy and a manner of living. As
one of the most influential playwrights of his time, Mamet has always been concerned with the issues which
most afflict America. He finds the ills of his society manifested in the relation among people. An attempt is made
to explain the ways in which life-as-play finds expression both linguistically and thematically in the different
contexts of these works
The ridiculous sublime in Don DeLilloâs White Noise and Cosmopolis
The sublime figures significantly in Don DeLilloâs novels. Transformed into what has been
termed postmodern sublime - disposing of transcendence in favor of immanence - it is
considered to be more of a hollow, confusing and overwhelming phenomenon rather than an
elevating and empowering one. Moreover, the multiplicity of prior representations and the
exhaustion of the possible have undermined the authenticity and power of the sublime,
turning it into pseudo-sublime and mock-sublime. As such, it has moved ever closer to the
realm of the ridiculous to the point where it is rather a question of co-existence and coimplication
between them rather than an opposition. This can be phrased the ridiculous
sublime. This paper focuses on DeLilloâs White Noise (1984) and Cosmopolis (2003) by
drawing on major theorists of the sublime like Kant, Jameson, Zizek and, most notably,
Lyotard, in an attempt to shed light on the modality of the merging of the sublime and the
ridiculous. Our analysis shows that in DeLilloâs fiction, White Noise and Cosmopolis, the
events and phenomena that transpire to convey a sense of sublimity are almost always
interrupted and tarnished by an implication of the grotesque and the ridiculous. This
transformation of
the concept of the sublime reflects the decline of metanarratives and the
exhaustion of possible experiences as the hallmarks of the postmodern era
Self-fashioning in Pope's epistle to Dr. Arbuthnot: a Bourdieusian reading
The aim of the present article is to investigate Alexander Pope's self-fashioning in the light of Pierre Bourdieu's socio-cultural notion of capitals, specifically the symbolic form. Pope endeavors a lot to gain such a prominent status as the most representative poet of his age. He garners all his artistry, eloquence, savoir-faire, family and social milieu to move towards the center of the canon throughout his life. This upward movement comprises a self-fashioning by Pope which sometimes is the means to facilitate his canonization and sometimes it turns into a goal and an end in itself for him. As the highly acclaimed French philosopher, Pierre Bourdieu highlights the importance of symbolic capital in an individualâs social status. Therefore this paper aims at shedding light on Pope's sophisticated act of self-fashioning and its relevance to Pierre Bourdieu's symbolic capital. For this reason, this article discusses Pope's Epistle to Dr. Arbuthnot, an exemplar of his self-fashioning and accumulation of symbolic capital
The sublime in Don DeLillo's Mao II
The world that DeLillo's characters live in is often portrayed with an inherent complexity beyond our comprehension, which ultimately leads to a quality of woe and wonder which is characteristic of the concept of the sublime. The inexpressibility of the events that emerge in DeLilloâs fiction has reintroduced into it what Lyotard calls "the unpresentable in presentation itself" (PC 81), or to put it in Jamesonâs words, the "postmodern sublime" (38). The sublime, however, appears in DeLillo's fiction in several forms and it is the aim of this study to examine these various forms of sublimity. It is attempted to read DeLillo's Mao II in the light of theories of the sublime, drawing on figures like Burke, Kant, Lyotard, Jameson and Zizek. In DeLillo's novel, it is no longer the divine and magnificent in nature that leads to a simultaneous fear and fascination in the viewers, but the power of technology and sublime violence among other things. The sublime in DeLillo takes many different names, ranging from the technological and violent to the hollow and nostalgic, but that does not undermine its essential effect of wonder; it just means that the sublime, like any other phenomenon, has adapted itself to the new conditions of representation. By drawing on the above mentioned theorists, therefore, the present paper attempts to trace the notion of sublimity in DeLillo's Mao II, to explore the transformation of the concept of the sublime under the current conditions of postmodernity as depicted in DeLilloâs fiction
Historiography in "Beginnings: Malcolm" by Amiri Baraka
This article discusses Aimiri Barakaâs concern with the history of black people in his poem "Beginnings: Malcolm". The writers try to shed some light on the way Baraka's historiography challenges the white supremecist discourses through a rewriting of the African American past that blurs the boundaries of myth and history, fact and fiction, in a postmodern manner. It is argued that through the use of the central African myth of Esu/Elegba and drawing on traditions of Christianity and Western literature/culture, Barakaâs poem offers an uncanny insight into the past
Politics and the Humanistic Pose: David Hare's 'Wall'
David Hare has tried his hand at 'writing history' for the East in a number of plays. In Wall he is keen on conferring an aura of historicity on his personal account, one thinly masked by the manipulation of documentary drama or verbatim theater as theatrical medium. Having promised to deliver an objective, impartial, and 'liberal' study of the Middle East, and aware of the accusations his 'First World' position before the Eastern subject (object) may bring against him, Hare arduously strives to avoid hackneyed representations of the unprivileged. Yet, he turns out to have fallen prey to that same old trap of polarizing and stereotyping. However, this 'historigraphic metadrama' is often treated as having 'authenticity.' Hence, the writers in this paper aim at exploring the Western unilateral fixations of the East behind the façade of humanistic treatment in the playwright's historiographic approach
Las formas del capital en "Winter Dreams," de F. Scott Fitzgerald
This paper offers a reading of F. Scott Fitzgeraldâs âWinter Dreamsâ (1922) in the light of Pierre Bourdieuâs theorization of forms of capital. Fitzgeraldâs story is centrally concerned with social class and addresses the rise of consumer culture in the 1920s. It is about a Midwest American trying to improve his economic and social status to win the hand of a wealthy girl he loves. At issue here are different types of capital (economic, social, cultural, symbolic), hence the relevance of Bourdieu. Thus, we explore in Fitzgeraldâs story the way characters are engaged in everyday practices as social agents competing with other social agents to accumulate âcapitalâ. In the process of socialization, the economic capital provides the protagonist with luxury but the lack or shortage of other forms of capital âespecially cultural capitalâ cause him to fail in the pursuit of his heartâs desire. Este ensayo presenta una interpretaciĂłn de âWinter Dreamsâ (1922) de F. Scott Fitzgerald basada en la teorizaciĂłn de las formas del capital de Pierre Bourdieu. La historia de Fitzgerald se centra especialmente en la clase social y aborda el auge de la cultura consumista en los años 20 del siglo XX. Es la historia de un americano del medio oeste que trata de mejorar su estatus social y econĂłmico para conseguir casarse con la chica rica de la que estĂĄ enamorado. Se aborda la importancia de los diferentes tipos de capital (econĂłmico, social, cultural y simbĂłlico), de ahĂ la relevancia de las teorĂas de Bourdieu. A partir de esto, los autores trazamos en el relato de Fitzgerald la forma en que los personajes llevan a cabo prĂĄcticas cotidianas como agentes sociales que compiten con otros agentes sociales con el fin de acumular âcapitalâ. En el proceso de socializaciĂłn, el capital econĂłmico proporciona lujos al proonista, pero la falta o escasez de otras formas de capital âprincipalmente, capital culturalâ provoca el fracaso en su meta de conseguir sus deseos romĂĄnticos