Cet article critique la conception du mythe littéraire chez Philippe Sellier et Pierre Brunel, pour lesquels les mythes littéraires sont issus des mythes ethno-religieux et n’ont pas leur source dans la littérature. Cette définition apparaît comme ethnocentrée et n’est pas applicable universellement. La Perse présente trois périodes mythologiques : l’ère pré-sassanide, l’ère post-sassanide persane et l’ère post-sassanide shi’ite. La mythologie shi’ite est une mythologie littéraire. Elle possède à la fois des caractéristiques du mythe littéraire et des caractéristiques du mythe ethno-religieux. (...) Il s’agit donc d’une mythologie qui est née de la littérature, avec auteur et datation, mais en même temps elle fonde une vérité et instaure la civilisation shi’ite. La mythologie shi’ite ne peut s’inscrire dans la définition de Brunel-Sellier, et il faut donc définir le mythe littéraire d’une autre manière. Cette nouvelle définition doit prend sa source dans la littérature, et être capable de comprendre tous les mythes littéraires du monde. Ce que le mythe littéraire de Brunel-Sellier ne parvient pas à faire. The article criticizes the definition of literary myth of Philippe Sellier and Pierre Brunel which is derived from ethno-religious myth and is not properly born of literature. This definition is local and regional, and is not universally applicable. Persia mythological has three periods: the era before Sassanid, the era post-Sassanid Persian and the era post-Sasanian Shi’ite. Shi’ite mythology is a literary mythology. It has some characteristics of literary myth and some characteristics of ethno-religious myth. So we have a mythology that was born from the literature, has the author and date, but at the same time, she founded and established a truth Shi’ite civilization. So we cannot classify the Shi’ite mythology as defined by Brunel-Sellier, and we must define the literary myth again. A definition that is born of the literature, and able to include all the literary world myths, what the literary myth of Brunel-Sellier cannot do. (shrink)

Dr. Zaslavsky’s Platonic Myth and Platonic Writing: A Philosophico-Literary Exploration addresses the thorny issue of precisely what is meant by mythos (myth) in the Platonic corpus of dialogues. Dr. Zaslavsky rejects the common notion that what makes a myth in Plato a myth (as opposed to a speech or logos) is its truth value. Therefore, after an analysis of why Plato wrote as he did and a cataloguing and examination of every occurence of mythos and (...) its derivatives in the Platonic corpus, he articulates the new linguistic and philosophical principle that a myth is a genetic or causal synagogic/synoptic account, in contradistinction to logos as a descriptive or calssificatory diairetic account. He tests this definition successfully through an examination of all those accounts in Plato that are explicitly designated as myths. (shrink)

The author submits that while Nancy's tendency to make Occidentalist remarks cannot be denied, it is antithetical to his own conception of community that may be forged through literature. Nancy's conception actually provides a basis to critique not only Occidentalism, but any view that blinds us to the significance of cultural differences. For Nancy genuine community can only be achieved in the exposure of the other as a singular individual marked by unique cultural, historical, and existential experiences. His approach reminds (...) us that it is impossible to achieve genuine community unless we recognize and respect not only cultural differences, but differences of all kinds. It is possible, in fact, that despite some of Nancy's untenable remarks suggesting a precedence of the Occident, his concept of literary communism must be understood as a non-, or perhaps better, post-Western form of community. (shrink)

A DISCUSSION OF: CATHERINE COLLOBERT, PIERRE DESTRÉE, FRANCISCO J. GONZALEZ , PLATO AND MYTH: STUDIES ON THE USE AND STATUS OF PLATONIC MYTHS. MNEMOSYNE. SUPPLEMENTS, 337. LEIDEN/BOSTON: BRILL, 2012. PP. VIII + 476. ISBN 9789004218666. $222.00.

Literary Analysis: The Basics is an insightful introduction to analysing a wide range of literary forms. Providing a clear outline of the methodologies employed in twenty-first century literary analysis, it introduces readers to the genres, canons, terms, issues, critical approaches, and contexts that affect the analysis of any text. It addresses such questions as: What counts as literature? Is analysis a dissection? How do gender, race, class and culture affect the meaning of a text? Why is the (...) social and historical context of a text important? Can digital media be analysed in the same way as a poem? With examples from ancient myths to young adult fiction, a glossary of key terms, and suggestions for further reading, "Literary Analysis: The Basics "is essential reading for anyone wishing to improve their analytical reading skills. (shrink)

Let me start with my general thesis: that psychoanalysis has gone through three phases. It has been a psychology first of the unconscious, second as psychology of the ego, and today, I believe, a psychology of the self. . . . To a surprising extent, the modern American literary critic has sought the same impersonal, generalized kind of quasi-scientific knowledge. We anglophones reacted against the over-indulgence in subjectivity by Victorian and Georgian critics. We also reacted against the uncritical use (...) of extraliterary knowledge, connections that were often aimless and unconvincing between literary works and their authors' autobiographies or literary periods. We sought instead an analytical rigor, at first by searching out the organic unity of particular literary works, then by extending the methods of close reading we developed that way to the total works of an author, to myths and popular arts, to the language of everyday life, and even to such artifices as Volkswagens, supermarkets, and political candidates. Norman N. Holland is professor of English and director of the Center for the Psychological Study of the Arts at the State University of New York at Buffalo. He is the author of six books, of which Psychoanalysis and Shakespeare , The Dynamics of Literary Response , Poems in Persons , and Five Readers Reading deal directly with problems of psychological criticism. His contributions to Critical Inquiry are "Human Identity" and "Why Ellen Laughed". (shrink)

During the 1960's and 1970's, the eruption of theory was presented as an epistemic break, reorganizing the field of questioning both prospectively and retrospectively. In the forefront of this new movement was the influential journal Tel Quel, which both canonized a body of preferred avant-garde texts (both literary and theoretical) and nullified prominent figures from preceding generations. In a broad remapping of French modernism, this book shows how the milieu of Tel Quel transferred myths of the powers of literature (...) inherited from Bataille, Sartre, Valéry, and Breton to theory, in the process erasing the traces of these myths and their common ground. The author analyzes cultural and theoretical positions—pure art, automatism, engagement, and transgression—that structured the literary and critical field from the 1920's to the 1950's to show their strong impact on the formulation and elaboration of theoretical issues in more recent decades. Focusing on the question of relations between poetry and action, she reexamines these positions and uncovers proximities between them that significantly displace theoretical issues. These proximities emerge when a philosophical subtext of Bergson—antiphilosopher and nondialectical thinker—is revealed to operate alongside the more obvious subtext of Hegel. The discourse of Bergson shifts the category of action central to these literary polemics and revalues the visual register, suggesting a reconsideration of Surrealism. The book concludes by examining the ideological pressures associated with the eclipse of the discourse of Bergson as well as some of the effects of this erasure on our understanding of the modern as distinct from the postmodern. (shrink)

In this article, an anthropological definition of literature is attempted. Since all communities seem to have some kind of literature (including its simple forms: myth, folktale, fable, proverb, and song), literature is claimed to be a human universal. Hence, literary discourse should be added to the four basic discourses that Habermas has pointed out and discussed; namely, theoretical, practical, historical, and technical discourses. Five characteristics of literary discourse are pointed out here: fictionality, poeticity, inquisitoriality, poetic licence, and (...) contemplation. It is not claimed that every text that is classified as literary necessarily contains all five features, but a vast majority of them do. Finally, it is argued that literary discourse is special because it redefines Habermas' four so-called ‘universal-pragmatic validity’ claims: understandability, truth, normative rightness, and sincerity. These claims are not altogether suspended, but they are given new meanings and attenuated in literary discourse. (shrink)

If literary avant-garde journals and their communities have been, in the twentieth century, a space for creating, if not sustaining, major political utopias, it should help explain why this “literary communism,” as Jean-Luc Nancy called it, is not a weakened or substitutional form of politics. No myth without narration, no implementation without an instrumentation, no organic unity without a political organ voicing its claim, in short: no organicity without an organon. But can there be a (literary) (...) community that does not aim at the achievement of its own assumed truth, a form of writing in common that does not serve to convey a meaning, but bears witness, in its very form, to the fragmentation of meaning? This essay examines three attempts of an affi rmative answer to this question by reappraising three interrelated experimental cases: Jena around 1800 and the Athenaeum journal of the Early Romantics; Walter Benjamin’s journal projects, from the Angelus Novus to the prison camp journal at the end of his life; Maurice Blanchot and the failed trans-European project of what was arguably the most ambitious intellectual journal enterprise of the century, the Revue internationale in the early 1960s. (shrink)

Literary criticism at the present moment seems ready to open its doors once again to the outside world, even if that world is only a series of other academic disciplines, each cloistered in its own way. For the reader of black African literature in French, the opening comes none too soon. The program for reading Camara Laye, Ahmadou Kourouma, and Yambo Ouologuem should never have been the program prescribed for Rousseau, Wordsworth, or Blanchot. If one is willing to read (...) a literature that might not be a rewriting of Hegel , and if the negative knowledge of recent theoretical criticism is questioned in the universality of its applications, then what is really open to a Western reader of non-Western literature? Claiming a break with his/her own culture and critical upbringing, can he/she the Other, the African, as if from an authentically African point of view, interpreting Africa in African terms, perceiving rather than projecting?The goal of breaking through the nets of Western criticism, of reading African literature in a nonethnocentric, nonprojective fashion, will remain both indisputably desirable and ultimately unattainable. No matter how many languages I learn or ethnologies I study, I cannot make myself into an African. The Western scholar’s claim to mastery of things African, albeit motivated by xenophilia rather than xenophobia, risks subjugation of the object to a new set of Western models. J. P. Makouta-M’Boukou rightly scolds Western critics who refuse to take into account the distance between themselves and African culture, and who read African literature only in function of their own cultural context.1 Wole Soyinka, more forbiddingly, complains: “We black Africans have been blandly invited to submit ourselves to a second epoch of colonisation—this time by a universal-humanoid abstraction defined and conducted by individuals whose theories and prescriptions are derived from the apprehension of their world and their history, their social neuroses and their value systems.”2 1. See J. P. Makouta-M’Boukou, Introduction à l’étude du roman négro-africain de langue française , p. 9.2. Wole Soyinka, Myth, Literature, and the African World , p. x. Christopher L. Miller, Charles B. G. Murphy Assistant Professor of French and of African and Afro-American Studies at Yale University, is author of Blank Darkness: Africanist Discourse in French . He is working at present on a study of francophone black African literature, for which he will have a Fulbright Africa Research grant. (shrink)

For more than a decade Nina Baym has pioneered in the reexamination of American literature. She has led the way in questioning assumptions about American literary history, in critiquing the standard canon of works we read and teach, and in rediscovering lost texts by American women writers. Feminism and American Literary History collects fourteen of her most important essays published since 1980, which, combining feminist perspectives with original archival research, significantly revise standard American literary history. In Part (...) I, "Rewriting Old American Literary History," the focus is on male writers. Essays range from close readings of individual works to ambitious critiques of the main paradigms by which scholars have conventionally linked disparate texts and authors in a narrative of nationalist literary history: the self-in-the-wilderness myth, the romance-novel distinction, the myth of New England origins. Part II, "Writing New American Literary History," studies examples of women's writing from the Revolution through the Civil War. Stressing much overtly public and political writing that has been overlooked even by feminist scholars, noting public and political themes in supposedly domestic works, the essays substantially modify and historicize the paradigm by which premodern American women's writing is currently understood. The contentious and influential essays in Part III, "Two Feminist Polemics," address feminist literary theory and pedagogy, advocating a pluralist practice as the basis for scholarship, criticism, and humane feminism. No one interested in American literature or in women's writing can afford to ignore Baym's revisionist work. Humorous and gracefully written, this book is enjoyable and indispensable. (shrink)

Keum’s book makes a significant intervention into the discourse on myth which continues to view myth predominantly as illusory, false, and morally wrong. In introducing an alternative tradition of literary myth, she effectively calls this view into question. The political and normative ramifications of literary myth remain somewhat underexplored, however. In my reflections, I ask how the book defines ‘political myth’. I suggest that a more detailed comparison between the Sorelian and the (...) class='Hi'>literary conception of myth would be useful. In particular, it would help to clarify the normative gap between the book’s stronger claims of myth’s significance for reason and its weaker calls for vigilance and pluralism. I close by encouraging an analytic of political myth that goes beyond philosophical pedagogy. (shrink)

Kant's famous statement (from the first Critique) that he found it necessary to deny knowledge in order to make room for faith acknowledges a religious or theological telos to the entire critical project. This article outlines a series of relations of 'knowledge' to 'faith' in the architectonic repetitions with variation that plays from the first Critique through the Religion. Various deployments of 'truth' at each stage presume a kind of 'faith' or trust all the way along. These deployments are shown (...) to follow a pattern which echoes that set out in Northrop Frye's understanding of literary modes descending from myth to romance to high and low mimetic and ending in the ironic. These modes describe realms of possibility and necessity, and their nesting in Frye's explication of literature is shown to be itself an echo of more formal theories of Tarski and Godel. (shrink)

This article provides support for the argument that horror media “works” by activating evolved cognitive and affective systems that are flexibly tailored to local socio-ecological contexts. Guided by previous work using evolutionary theory to study horror literature (e.g., Clasen 2012, 2018, 2019), I investigate horror manga’s popularity and international market, which indicate a cross-cultural preoccupation with horror transmedia that is expli­cable in terms of the form’s ability to target evolved psychological systems. Specifically, these multimodal texts elicit the evolved emotions of (...) anxiety, fear, and disgust in response to culturally specific and evolutionarily relevant narratives, characters, antagonists, and environments. Thus, horror manga reflects the myths, folklore, and religious traditions of Japanese society in addition to salient ubiquitous evolutionary threats such as predators, antisocial conspecifics, and infectious diseases. (shrink)

Syncrisis as literary motif in the story about the grown-up child Jesus in the temple (Lk 2:41–52 and the Thomas tradition): The article explores hermeneutical solutions for the negative response from the child Jesus towards his biological parents in the Lukan temple story (Lk 2:41–52). The ‘wisdom’ of the child who acts in an ‘adult-like’ way is interpreted as a syncrisis. This literary motif is explained by an analysis of the contrasting positive and negative acts of the child (...) Jesus towards teachers of the Torah in the Infancy Gospel of Thomas. (shrink)

We attempt to offer a new interpretation of Schlegel’s original solution for the problem of the new mythology. We claim that, while grasping the problem of the missing center as the structure of modern thought, Schlegel develops a theory of literature which implies an ontology of time. We advance that, by identifying myth with romantic literature, Schlegel’s argumentative economy leads him to apply the metaphysical predicates of myth to romantic literature as such. We propose then to read the (...) status of literary forms as constituting the substance which precedes them but, paradoxically, only exists through them. (shrink)

A definition of [George] Eliot as renunciatory culture-mother may seem an odd preface to a discussion of Silas Marner since, of all her novels, this richly constructed work is the one in which the empty pack of daughterhood appears fullest, the honey of femininity most unpunished. I want to argue, however, that this “legendary tale,” whose status as a schoolroom classic makes it almost as much a textbook as a novel, examines the relationship between woman’s fate and the structure of (...) society in order to explicate the meaning of the empty pack of daughterhood. More specifically, this story of an adoptive father, an orphan daughter, and a dead mother broods on events that are actually or symbolically situated on the margins or boundaries of society, where culture must enter into a dialectical struggle with nature, in order to show how the young female human animal is converted into the human daughter, wife, and mother. Finally, then, this fictionalized “daughteronomy” becomes a female myth of origin narrated by a severe literary mother uses the vehicle of a half-allegorical family romance to urge acquiescence in the law of the Father.If Silas Marner is not obviously a story about the empty pack of daughterhood, it is plainly, of course, a “legendary tale” about a wanderer with a heavy yet empty pack. In fact, it is through the image of the packman that the story, in Eliot’s own words, “came across my other plans by a sudden inspiration”—and, clearly, her vision of this burdened outsider is a re-vision of the Romantic wanderer who haunts the borders of society, seeking a local habitation and a name.11 I would argue further, though, that Eliot’s depiction of Silas Marner’s alienation begins to explain Ruby Redinger’s sense that the author of this “fluid and metaphoric” story “is” both Eppie, the redemptive daughter, and Silas, the redeemed father. For in examining the outcast weaver’s marginality, this novelist of the “hidden life” examines also her own female disinheritance and marginality.12 11. Eliot to Blackwood, 12 Jan. 1861, quoted in Ruby V. Redinger, George Eliot: The Emergent Self , p. 436. As Susan Garber has suggested to me, the resonant image of the “packman” may be associated with the figure of Bob Jakin in The Mill on the Floss , the itinerant pack-bearing peddler who brings Maggie Tulliver a number of books, the most crucial of which is Tomas à Kempis’ treatise on Christian renunciation .12. Rediner, George Eliot, p. 439; Eliot, “Finale,” Middlemarch, p. 896. Sandra M. Gilbert, now professor of English at the University of California, Davis, will join the Department of English at Princeton University in fall 1985. Her most recent works include a collection of poems, Emily’s Bread , and, coedited with Susan Gubar, The Norton Anthology of Literature by Women: The Tradition in English . In addition, she is at work on Mother Rites: Studies in Literature and Maternity, a project from which “Life’s Empty Pack” is drawn, and, with Susan Gubar, on No Man’s Land: The Place of the Woman Writer in the Twentieth Century, a sequel to their collaborative Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination . “Costumes of the Mind: Transvestitism as Metaphor in Modern Literature” appeared in the Winter 1980 issue of Critical Inquiry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Demise of the Aesthetic in Literary StudyEugene GoodheartAnumber of years ago at an MLA convention I was on a search committee interviewing candidates for a position in Victorian literature in our department. One of the candidates had done a dissertation on Christina Rossetti in which “Goblin Market” played a prominent role. As I recall, the candidate was putting forth a New Historicist or feminist argument about the (...) poem, when one of my colleagues on the committee interrupted her with the question: “But is it a good poem?” The question took me by surprise, for I didn’t remember such a question having been asked of students in years. It dumbfounded the candidate. She had apparently never considered the question. The poem was there as an occasion for... I was about to write interpretation or analysis, but it would be more accurate to say: a placement in a particular discourse—historicist, feminist, deconstructionist, ideological. The candidate’s fluency about the poem came to a halt. She spluttered a few phrases about the power of the poem. She was unprepared to answer the question, having never been asked or taught to ask it by her teachers of any poem or novel or play that she had read.We may not have been fair in our judgment of her. If we had been consistent and asked the same question of all the candidates, I don’t think we would have met with greater success. Our candidate’s disability was, indeed still is, built into the profession of literary studies at the present time. That aesthetic judgment is not one of the current professional practices is clear not only from its absence in the content of literary study but from the styles of the discoursers. No longer written [End Page 139] in a vernacular style, criticism has become a species of sociological prose once held in contempt by literary scholars: ponderous, abstract, obscure, ungainly, jargonish. There are practitioners of New Historicism, ideology critique, and deconstruction who write well, but who seem to regard their own gifts of expression as incidental, and are not in the least discomfited by the bad writing of others.Style is not an incidental matter. Orwell made a compelling case for its political and moral significance. In his classic essay “Politics and the English Language,” he preaches the virtues of plain speech, the transparent and elegant style as a mark of self-honesty. (Transparency makes it difficult to conceal your ideas from yourself.) In Writing Degree Zero and subsequent writings, Barthes deconstructed, so to speak, the Enlightenment myth of transparency as a guarantor of honesty and truth. Reality was not as perspicuous to “natural” plain writing as the Enlightenment believed. Barthes’s own style (rich, inventive, personal, alternately perspicuous, and obscure) is that of an imaginative writer. I don’t want to adjudicate the differences between Orwell and Barthes, but I should note what may not be obvious: they have a shared aesthetic concern with style, a concern that has virtually disappeared from academic discourse.It has become almost an embarrassment to speak in behalf of aesthetic value in the academy. One of the few unembarrassed exceptions is the voice of Harold Bloom whose jeremiad The Western Canon begins defiantly with an affirmation of the aesthetic against its demystifiers. “‘Aesthetic value’ is sometimes regarded as a suggestion of Immanuel Kant’s rather than an actuality, but that has not been my experience during a lifetime of reading.” 1 I take it that Bloom is saying that aesthetic value is an experience and not a theory. Indeed, if we insist on a theoretical justification of the aesthetic, we will end up speaking as does Barbara Herrnstein Smith of its contingent and subjective status (it is in the eye of the beholder and every beholder sees things differently) or we may find that the aesthetic is inescapably contaminated by political, moral, and philosophical interests. “Contaminated” perhaps, but as Bloom says, not reducible to these interests. It is useful to remember that aesthetics has been traditionally associated with the idea of disinterestedness. As Jerome Stolnitz remarks, we perceive beauty when it is the object of a “disinterested and sympathetic attention... (shrink)

The Cosmographia of Bernard Silvester was the most important literary myth written between Lucretius and Dante. One of the most widely read books of its time, it was known to authors whose interests were as diverse as those of Vincent of Beauvais, Dante, and Chaucer. Bernard offers one of the most profound versions of a familiar theme in medieval literature, that of man as a microcosm of the universe, with nature as the mediating element between God and the (...) world. Brian Stock's exposition includes many passages from the Cosmographia translated for the first time into English. Arising from the central analysis are several more general themes: among them the recreation by twelfth-century humanists of the languages of myth and science as handed down in the classical tradition; the creation of the world and of man, the chief mythical and cosmographical problem of the period; the development of naturalistic allegory; and Bernard's relation to the "new science" introduced from Greek and Arabic sources. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

This book explores the dynamic relationship between myth and philosophy in the Presocratics, the Sophists, and in Plato - a relationship which is found to be more extensive and programmatic than has been recognized. The story of philosophy's relationship with myth is that of its relationship with literary and social convention. The intellectuals studied here wanted to reformulate popular ideas about cultural authority and they achieved this goal by manipulating myth. Their self-conscious use of myth (...) creates a self-reflective philosophic sensibility and draws attention to problems inherent in different modes of linguistic representation. Much of the reception of Greek philosophy stigmatizes myth as 'irrational'. Such an approach ignores the important role played by myth in Greek philosophy, not just as a foil but as a mode of philosophical thought. The case studies in this book reveal myth deployed as a result of methodological reflection, and as a manifestation of philosophical concerns. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Locke, Literary Criticism, and PhilosophyDavid GormanLocke, Literary Criticism, and Philosophy, by William Walker; xviii & 227 pp. Cambridge: Cambridge University Press, 1994, $54.95.Locke’s Essay Concerning Human Understanding is one of those large, difficult, canonical works that are cited a great deal more often than they are read. In the case of the Essay this syndrome has resulted in historical mythmaking which, while rightfully monumentalizing Locke’s book, (...) has done so at the expense of its actual or potential significance. Walker’s study is aimed at destroying the myths about the Essay while rethinking its significance, through a carefully rhetorical reading of its text.Rhetoric is, of course, one of the things which Locke—along with Bacon and Descartes—is held to have rejected from philosophical discourse. This image of Locke as a proponent of commonsensical empiricism and an opponent of rhetorically-oriented speculation is one of the mainstays of intellectual history—of several distinct histories, in fact: philosophical, literary, and linguistic. But, Walker argues, it is also a mythic image. He further holds that an attentive, unprejudiced reading of the Essay will illustrate this claim by showing the work to be imagistic through and through. The Locke who emerges from this [End Page 250] rereading is not the sworn enemy of those literary effects to which language lends itself, one who has proven convenient to the formulation of neat defenses of poetry (including rhetoric) against simple-minded epistemologues. Walker’s suggestion is that this Locke, not having existed, had to be invented. The Locke of the Essay as Walker rereads it is, instead, a thinker about mind, language, and their intertwined effects who stands much closer to Nietzsche than anyone might have thought previously. And this Locke is anything but the naive philosophical butt simply awaiting a sophisticated (meaning, linguistically-oriented) deconstruction of the kind associated with Nietzsche.As might be expected from this summary, the spirit of Paul de Man hovers over Walker’s project. But this is deconstruction with a difference (and what other kind is worthwhile?). On the one hand, Walker’s whole analysis follows the mandate laid down in de Man’s celebrated essay on “The Epistemology of Metaphor” (1978), which is to ignore the commonplaces of intellectual history about Locke and to look at the text of the Essay with an eye to what happens there (the relevant passage in de Man is quoted on p. 133). On the other hand, however, the result of following out de Man’s suggestion has been Walker’s discovery and demonstration of severe problems in de Man’s own treatment of Locke and his Essay, a treatment that depends for its effect very strongly on the kind of mythmaking that casts Locke and Nietzsche as antagonists, and more specifically Locke as the problem for which Nietzsche proves the diagnosis.Walker is in fact quite harsh on de Man in places. Thankfully, however, the relevant chapters of his book do more than provide a litany of “de Man’s flagrant violations of fact and reason” (p. 154)—though this is no bad place to start in reconsidering de Man’s analyses, which have all too easily acquired the status of received wisdom. The exemplary achievement of Walker’s book, aside from its careful scrutiny of Locke’s writing, is to have suggested criteria against which deconstructive readings can be judged (a task that deconstructors themselves have been inclined to shirk). After all this, what remains, meanwhile, of the Essay? “I find the Essay to be complicated...,” Walker asserts, modestly but pregnantly (p. xv). Another claim that his study enforces against de Manian orthodoxy is that literary and intellectual history is indeed still possible, not despite but precisely because of close linguistic analysis: the change that rhetorical reading brings to historical study is to show that literary history is more complicated than is often supposed.David GormanNorthern Illinois UniversityCopyright © 1996 The Johns Hopkins University Press... (shrink)

Did Roland Barthes, Michel Foucault, Jacques Derrida, or other "poststructuralist" theorists writing in the wake of May '68 come up with any good ideas about authorship and related topics in the philosophy of literature? The three volumes under review have a common point of departure in that broad question, but offer a number of contrasting responses to it. In what follows I describe and assess some of the various perspectives on offer in these 700 or so pages. The short answer (...) to my initial question comes at the end. Carla Benedetti's book was first published in 1999 in Milan as L'ombra lunga dell'autore: Indagine su una figura cancellata. Professor of Italian and Theory of Literature at the University of Pisa, and Recurrent Visiting Professor at NYU, she clearly shares some of Foucault's basic assumptions about authorship: "It is the reader or viewer who transforms the artist's selections, which in themselves may even be random or compelled, into subjective choices endowed with intentionality: that intentionality that is capable of providing meaning and artistic value to what we are viewing or reading" (p. 12). Benedetti contends that such attributions are a necessary part of the literary and artistic discursive formation of modernity, and she persuasively demonstrates that the author has not "disappeared," in spite of what Barthes and others may have thought or wished. According to Benedetti, authorialism, or the thesis that artistic value can only derive from original authorship, is the product of a modern ideology. She contends that a self-reflexive, late modernist train of thought generates a highly problematic relation to authorship and such related notions as genius, novelty, and creativity. More specifically, Benedetti finds a Batesonian double bind or paradoxical injunction in modernity's incessant demand for an extreme form of novelty. As soon as something innovative has been done, yet another innovation is desired. Not only does it become harder and harder to make a radically new move in the game, but the entire pursuit appears to be hopeless. Although Benedetti does not say so, the key thought was neatly captured by Oscar Wilde when he quipped: "Nothing is so dangerous as being too modern; one is apt to grow old-fashioned quite suddenly." To be old-fashioned is abhorrent, yet to try to obey the injunction to be "absolutely modern" is to risk becoming old-fashioned in a hurry, so failure seems inevitable. One of the constitutive myths of late modernity has it, then, that artistic activity must be recognized as authorless because it is impossible to create some sort of fundamentally novel work of lasting value. For those in the grip of this unsound thought, it seems necessary to conclude that the writer-no-longer-author must be recognized as an essentially uncreative epigone. Benedetti comments rather sweepingly, "All that poststructuralist thought speaks of, in its multifarious elaborations, is merely our supposed irreversible impossibility to create" (p. 202). She links Derrida's rejection of the possibility of decisive epistemological "ruptures" to the same late modernist mythology. Benedetti concludes her book by saying that the late modernist mythology conflates one kind of novelty with the new in general. This distinction sounds promising, but is not developed any further, and this reader was left wondering how the putative crippling error of a vast artistic dispensation could be revealed by means of a distinction between two kinds of newness. I also wonder whether her diagnosis probes deeply enough into the sources and nature of the modish sensibility that leads perversely to the Last Year in Marienbad syndrome. Not everyone is equally interested in trying to be dazzlingly innovative and fashionable; some who do have this inclination manage to produce excellent works of art; and many artists active in the period in question have not worked with the assumptions Benedetti criticizes. Whatever one thinks about Benedetti's Foucauldian premises about authorship, her book is highly informative, engaging, and replete with astute comments on a wide range of European literary and artistic movements and critical trends. With a keen eye for significant detail, she writes elegantly and discusses many fascinating examples, including interesting, lesser-known Italian ones. A variety of perspectives on authorship are presented.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Girardian Event and the Literary EventThe Scapegoat and Revelation in Alice Munro's "Runaway"Joakim Wrethed (bio)My critics constantly accuse me of switching back and forth between the representation and the reality of what is being represented. Readers who have been following the text attentively will understand that I do not deserve the reproach or, if I do, we all deserve it equally because we affirm the existence of (...) real victims behind the almost mythological texts of medieval persecutors.—René Girard, The Scapegoat, 57Girardian philosophical and theological thinking is founded on events: mainly the two generic events of mimetic desire and the purifying sacrifice. However, in addition, there is more nuanced cognition of evental structures that becomes highlighted, particularly when engaging with literary texts through Girardian concepts. It is my intent here to probe deeply into Girard's evental layers through the analytic encounter with Alice Munro's short story "Runaway," which clearly indicates the existence of "real victims" in the sense Girard describes it in the epigraph just shown, even though obviously Munro's victims are moved into the context of our times through the use of [End Page 53] literature as a form of myth-making. We shall more closely examine the literary event as such and what it may mean in Munro's work, but then also bring relevant insights back into Girard's evental framework to ponder some conceptual timbres in his thinking about the scapegoat and revelation. In the Canadian author's short story we therefore focus on these interrelated topics of revelation and scapegoating in order to analyze them in close connection with Girard. The central claim is that Girard uses founding events to ground the generic aspects of the theory, but in addition the argument suggests that the engagement with Munro's short story reveals that the literary event "overflows" any theoretical appropriation of evental structures. Thus, the cognition of the event displays a hermeneutical circle that moves events back into narrativity, myth, and religion, out of which Girard once derived his central ideas.There are mainly three different aspects that need to be outlined here from the beginning, which constitute an organizing structure that is useful when exposing Munro's fiction to close analysis, namely, Christian revelation, anthropological revelation, and the capacity of events to generate new meaning through the underlying phenomenon of eventfulness. According to Bernard Perret, Girard has two central principles attached to his usage of the concept of "revelation":When he speaks of "Christian revelation," he gives this term its usual theological meaning: that of a self-revelation by God giving access to truths that human reason is unable to discover through its own forces. In addition to this first meaning, Girard on many occasions uses the word "revelation"—or "unveiling," which is almost synonymous—in the sense of a discovery giving access to a rational understanding of anthropological facts.1This seemingly incompatible usage will be an important distinction when we move into the realm of contemporary fiction. Moreover, Girard also adds yet another aspect of the event that needs to be taken into consideration as well, and this is the third characteristic referred to above. Perret stresses that Girard and Christianity as a whole state "that all human existence is characterized by events creative of new meanings."2 This last claim fits the dominion of creative fiction in a fertile way. As we shall see when we approach Munro's rather complex short story, we will have to engage with issues that are in line with Girard's theological thinking, but also with elements that problematize certain aspects of these phenomena. It should be mentioned that the Girard scholar Perret is mainly used in this analysis, since he provides a clear focus on aspects [End Page 54] of Girardian thinking that are particularly relevant. There are references directly to Girard's writing mainly in the notes.In order to set up a meaningful dialogue, we need to first ponder the literary event per se, partly since it is such a broad term but also since not all literary events can be seen as revelatory in the theological sense. I here outline a set... (shrink)

Every civilized society treasures through its folk tales and folk myths the elements of its native tribal life as points of cultural reference. The tribe not only acts as a foil to our culture, but also sustains its very being and gauges the degree of progress and change in the civilization that we uphold. This interdependence has a vital force: insofar as civilized societies define themselves by the distance they have built up between themselves and their respective primitive societies, a (...) civilized culture without its indigenous tribal past risks the authenticity of its process of change to challenge and doubt. Hence, our adulation of distance in both time and space between ourselves and our tribal forefathers, and our eagerness to recognize, maintain, and even glorify our tribes—a necessary syllogism in our postulation of a self-preserving argument. In a peculiarly chiastic way, we thrive on our existential reliance on the very primitiveness that we seek to repudiate as characteristic of a world past. We celebrate our present by eulogizing our past, and to fit the tribes in the large scheme of our self-definition we iconize them. These idealized images hide a creative mask through which we embrace the romantic myths of our respective origins and progress; the parades we arrange for our tribal history—through performance on our streets, or through semantics in our literature—subtly embody this dependence. (shrink)

Plato's dialogues frequently criticize traditional Greek myth, yet Plato also integrates myth with his writing. Daniel S. Werner confronts this paradox through an in-depth analysis of the Phaedrus, Plato's most mythical dialogue. Werner argues that the myths of the Phaedrus serve several complex functions: they bring nonphilosophers into the philosophical life; they offer a starting point for philosophical inquiry; they unify the dialogue as a literary and dramatic whole; they draw attention to the limits of language and (...) the limits of knowledge; and they allow Plato to co-opt cultural authority as a way of defining and legitimating the practice of philosophy. Platonic myth, as a species of traditional tale, is thus both distinct from philosophical dialectic and similar to it. Ultimately, the most powerful effect of Platonic myth is the way in which it leads readers to participate in Plato's dialogues and to engage in a process of self-examination. (shrink)

Roman Frigg and James Nguyen present a detailed statement and defense of the fiction view of scientific models, according to which they are akin to the characters and places of literary fiction. They argue that while some of the criticisms this view has attracted raise legitimate points, others are myths. In this chapter, they first identify and then rebut the following seven myths: that the fiction view regards products of science as falsehoods; that the fiction view holds that models (...) are data-free; that the fiction view is antithetical to representation; that the fiction view trivializes epistemology; that the fiction view cannot account for the use of mathematics in the modeling; that the fiction view misconstrues the function of models in the scientific process; and that the fiction view stands on the wrong side of politics. As a result, they conclude that the fiction view of models, suitably understood, remains a viable position. (shrink)

This book was first published in 2004. Plato, Aristophanes and the creators of the 'Orphic' gold tablets employ the traditional tale of a journey to the realm of the dead to redefine, within the mythic narrative, the boundaries of their societies. Rather than being the relics of a faded ritual tradition or the products of Orphic influence, these myths can only reveal their meanings through a close analysis of the specific ways in which each author makes use of the tradition. (...) For these authors, myth is an agonistic discourse, neither a kind of sacred dogma nor a mere literary diversion, but rather a flexible tool that serves the wide variety of uses to which it is put. The traditional tale of the journey to the Underworld in Greek mythology is neither simple nor single, but each telling reveals a perspective on the cosmos, a reflection of the order of this world through the image of the other. (shrink)

Codicology, also known as ‘the archaeology of the book’, is the study of manuscripts as physical objects. It is a discipline that studies manuscripts with a predominantly historical orientation. This essay explores the sequel to the most famous literature before and after Islamic epic story and the link between Islamic signs and literature review. The greatest pre-Islamic mysteries in the history of Moslem literature and its religious effects were disused, which were solved by manuscript studies and some case studies. The (...) research method is based on the position story and finding the Islamic signs of the research to confirm the Islamic signs in the history and its changes over time. Therefore, in this research, religious symbols in the history of literature have been studied. The authors try to reach a new knowledge regarding the foundations of this school by tracing the history of religious literature. Furthermore, the connection between culture and religious literature is made by examining the Islamic religion mysteries sample. The symbolism and explanation of codes and elements in art works have been studied and the role of myths and metaphors in semantic analysis and religious concepts has been discussed. Finally, the effect of the Islamic events in literature review and art development is discussed.Contribution: This study provides further insights into the relationship between theology and literature through a historical literature review. (shrink)

The predominance of patriarchally-based structures in Kristeva's work sets up an uncomfortable dichotomy for feminist critics. Her 1979 essay `Le temps des femmes' (translated as `Women's Time' in 1981) most explicitly articulates her own approach to feminism, addressing women's troubled relationship to patriarchy in terms of time and space. Kristeva identifies three distinct positions in feminist thought: `equality', `difference' and an anticipated `third generation' feminism that integrates the previous two attitudes, representing what she defines as a new `signifying space'. The (...) value of the `third space' is that it offers a method for proceeding beyond the either/or status offered by previous stages of feminist thought and analysis, challenging gender identity per se and bringing out the singularity of each individual subject. I explore ways of reading from the third space through examples of the `Cassandra' myth and H.D.'s epic poem Helen in Egypt (1974), looking specifically at women's relationship to patriarchal language. (shrink)

The article is an attempt to examine the literary treatment of the biblical material in three novels by Loys Masson, a Mauritian writer who lived in France the two thirds of his life: The Tortoises (1956), Advocate of the Isle (1961), The Nuptials of the Vanilla (1962). We first formulate a definition of literary myth, distinguished with biblical myth, then apply it to the symbolic narratives of this poet and novelist, who was a Catholic and a (...) communist, and whom his friend Claude Roy presented as an « Adam attempting to place the responsability for his sin onto God ». (shrink)

Literature from the United Kingdom and the United States represents the cultural expression of those peoples' lived experiences. Reading British and American literature may also aid in our understanding of the values, worldview, and ideological underpinnings of western civilization. Therefore, this thesis examines the mythological and religious themes in British and American literature using literary works from both countries. Greek Myth is the source and soil of ancient Greek literature. Ancient Greek and Roman literature is a rich treasure (...) for later generations to understand myths, providing creative materials for later British and American writers. It can be said that myths and religious ideas gave birth to great literary works and some immortal poets. Among them, "_Wuthering Heights_" is the main representative work of 19 th -century literature and occupies an important position in British and American literary history. Based on this, this paper discusses British and American literature's religious and cultural characteristics in "_Wuthering Heights_", mainly from the perspective of environment description and plot shaping. I hope this research can play a role in attracting jade. (shrink)

The idea that the Renaissance witnessed the emergence of the modern individual remains a powerful myth. In this important new book Martin examines the Renaissance self with attention to both social history and literary theory and offers a new typology of Renaissance selfhood which was at once collective, performative and porous. At the same time, he stresses the layered qualities of the Renaissance self and the salient role of interiority and notions of inwardness in the shaping of identity.

This book rethinks Plato's creation and use of myth by drawing on theories and methods from myth studies, religious studies, literary theory and related fields. Individual myths function differently depending on cultural practice, religious context or literary tradition, and this interdisciplinary study merges new perspectives in Plato studies with recent scholarship and theories pertaining to myth. Significant overlaps exist between prominent modern theories of myth and attitudes and approaches in studies of Plato's myths. Considering (...) recent developments in myth studies, this book asks new questions about the evaluation of myth in Plato. Its appreciation of the historical conditions shaping and directing the study of Plato's myths opens deeper philosophical questions about the relationship between philosophy and myth and the relevance of myth studies to philosophical debates. It also extends the discussion to address philosophical questions and perspectives on the distinction between argument and narrative. (shrink)

There is no plant that embodies the encounter between humans and plants better than the mandrake, whose myth, as Arlette Bouloumié writes, ‘has the cosmic sense of a profound correlation between nature and humanity and the possibility of their merging’. Zarcone presents a collection of extracts on this theme, under three main headings: (1) ancient documents in which legend and scholarship are mixed in varying degrees; (2) contemporary scholarly studies; and (3) literary texts.

In lieu of an abstract, here is a brief excerpt of the content:A Myth Of ReadingAlfred LouchThe Myth of Theory, by William Righter; x 7 224 pp. Cambridge University Press, 1994, $49.95.IThe critics mill about in the welcome break between interminable and terminal conference sessions, eager to see and be seen. William Righter wanders about, listening and telling anyone who stays to listen what he hears, musing all the while on what each of them has done, or tried (...) to do, or failed to do. One hopes for a dénouement—something, perhaps, like the tableau at the end of The Inspector General: critics frozen in typical and typically ludicrous attitudes. Alas, the prospective tone of ironic detachment is not sustained. Righter is too close to his perambulating colleagues; he shares too many of their academic reflexes to keep the requisite distance. If there is a tableau at the end, the reader must imagine it, and place Righter along with the rest, caught in (may we call them?) Gallosaxon attitudes.It seems to be an important conference. Everyone’s milling about. One wonders, do they have anything else to do? Here’s Derrida, de Man, Barthes, Hillis Miller, Booth, Bersani, Lyotard, Poulet, and Todorov. The remarks of one seem to flow seamlessly into the allegedly counter-claims of the next. It’s all amazingly friendly. Of course there’s that rude fellow Eagleton, who says: “Methodologically speaking, literary criticism is a non-subject.... If literary theory is a kind of meta-criticism [End Page 218], a critical reflection on criticism, then it follows that it too is a non-subject” (p. 210). But don’t mind him. For criticism is about literature and literature exists. So these promenading and posturing critics can’t be mere phantasms of brains fevered by much reading, or anyway by references to many books.Curious that the first critic available for a chat is Leavis. A bit of nostalgia that. I suppose most English critics of sufficient vintage recall their Leavis-inflicted wounds the way they might reminisce about the bit of shrapnel they got in the way of on Omaha Beach and bear now with pride. But my, how temperate he appears here! How on earth can he come across so bland? Remember him saying: Snow does not begin to exist as a novelist. Now that was Leavis. You may have disagreed with him, you may have thought him silly, but you certainly understood him, as one comprehends a slap in the face. But here: “... Leavis takes on vividly and personally the total responsibility of consciousness for a wide area of assumptions that obviously trail their implications behind them” (p. 4). This is an extraordinarily spongy way of saying that Leavis knew he was right, and if you didn’t agree with him, a humiliating place in a cheap and tawdry consumer society awaited you.Still, it is a lucky thing that Leavis appears first on the scene. As a critic to help frame more exactly the kinds of questions about literary theory and practice Righter wants to ask, Leavis offers an easily recognizable starting point. He somehow manages to take the high moral ground. You want to ask, how is it that Elijah’s mantle descends on him? Does he compel assent only by the stridency of his words, and not by an ostensibly rational way in which his critical judgments hang together?A pity if this should be so, because the point of Leavisite diatribes, though not their excesses, is close to the hearts of passionate readers. Such readers (ourselves perhaps) read judgmentally. A book bowls us over. Describing the experience we are tempted to draw invidious comparisons to other books, which perhaps move us less, or not at all. We say of minor things that come our way: it’s not Shakespeare (or D. H. Lawrence). If you agree the project comes to an end. If you don’t, you want to know what it is that bowls us over, and why we don’t find those qualities in your favorite author. You want an explanation of a particular kind, not one that adduces new facts, but one that allows us to appreciate how the case at dispute... (shrink)

Here is an in-depth look at the role myth, mortality, and religion play in J. R. R. Tolkien's works such as The Hobbit, The Lord of the Rings, and The Silmarillion -- including Tolkien's private letters and revealing opinions of his own work. Richard L. Purtill brilliantly argues that Tolkien's extraordinary ability to touch his readers' lives through his storytelling -- so unlike much modern literature -- accounts for his enormous literary success. This book demonstrates the moral depth (...) in Tolkien's work and cuts through current subjectivism and cynicism about morality. A careful reader will find a subtle religious dimension to Tolkien's work -- all the more potent because it is below the surface. Purtill reveals that the author's fantasy stories creatively incorporate profound religious and ethical ideas. For example, Purtill shows us how hobbits reflect both the pettiness of unimaginative parochial humanity and the unexpected heroism of ordinary people in crisis. Purtill effectively addresses larger issues of the place of myth, the relation of religion and morality to literature, the relation of Tolkien's work to traditional mythology, modern fantasy and science fiction, and the lessons Tolkien's work teaches that are applicable to our own lives. Book jacket. (shrink)

NoViolet Bulawayo’s recently published novel titled, Glory, fictionalises the tragic fall of Robert Mugabe from the helm of power. The removal of Mugabe from power through the 2017 “military coup” engendered a problematic narrative that depicted the former first lady, Grace Mugabe as the biblical Eve’s doppelganger. The purported resemblance of Eve, a character from sacrosanct text, and Grace of contemporary Zimbabwe is often based on mythical and misogynist (mis)interpretations of the former as an epitome of sin and the latter (...) as instrumental to Mugabe’s demise. Arguably, the construct of Eve in Zimbabwe and the personified allegory in the fictive society of Bulawayo is profoundly laden with semantics and tropes of power together interwoven with innuendoes that denigrate women. This article reflected upon the ‘blame Eve myth’ with interlocking discourses of toxic politics and religion that reinforce phallocentric attitudes and practices that denigrate the female gender in Zimbabwe. Ecofeminism enriches the discussions of the novel Glory as a satire that provides imperative fictional sites to chart these intricate discourses. Ecofeminist framework offers insights that enrich the discussions of Eve’s myth and other representations which disparage women in the novel, Glory. The study concludes that blaming Grace Mugabe in her fictional doppelganger Marvelous, symbolically illuminates how women and the feminised nature are both insulted and held accountable for woes that befall humanity in both the fictive nation of Jidada and its referent Zimbabwe. Contribution: Ecofeminist conceptual framework has rarely been used to examine the complex connection between gender, politics, religion and nature in Zimbabwean fictional writing. Thus, this study offered fresh insights that are significant in understanding these subjects from a multidisciplinary perspective because the analyses and readings of the novel were based on literary criticism, political discourse and theology. (shrink)

ExcerptCarl Schmitt's Hamlet or Hecuba (1956) is a peculiar text. For one, it stands out as the only detailed interpretation of a literary work that Schmitt ever produced. This is not to deny Schmitt's overall erudition and familiarity with Western literature nor his particular interest in the intricate relationship between aesthetics and politics, all of which can be traced throughout his writings from the 1910s to the 1950s. But the fact remains that apart from Hamlet or Hecuba, Schmitt did (...) not employ close readings of literary texts as a means to elaborate on his politico-philosophical ideas. Hamlet or Hecuba is…. (shrink)

The myths engendered by the Titanic disaster suggest the essentially literary character of myths, the importance of individuals in their creation and consumption, the frequent insistence of their consumers on literal‐historical truth, and thus the importance of discerning whether, and why, the creators of a myth distort the truth. The myth of the Titanic should be understood as a literal‐historical myth with an especially strong literary character and claim to truth; a myth whose interest (...) has not been exhausted by time because it raises perennial existential issues, and more superficially because it reflects the widespread assumption that disaster is readily avoidable and can be explained only by reference to stupidity or malfeasance. (shrink)