This chapter contains sections titled: Poetry (Briefly) The Aesthetics of Fiction (Again) A Non‐Aesthetic Art? Fiction as Non‐Aesthetic.

It is generally acknowledged that verbal auditory imagery, the reader's sense of hearing the words on a page, matters in the silent reading of poetry. Verbal auditory imagery (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglected by literary and other theorists. This is a first attempt to provide a systematic theoretical account of the felt qualities and underlying cognitive mechanics of narrative VAI, drawing on convergent evidence from the experimental cognitive sciences, (...) psycholinguistic theory, and introspection. The central argument is that distinctions within the domain of embodied VAI also apply to higher-order meaning-making. That is, based on the imaginer's level of self-implication in their production, discrete types of VAI are associated with discrete tendencies in spontaneous literary interpretation. More generally, the aim of this paper is to isolate a new set of embodied experiences which, along with previously researched phenomena such as sensorimotor enactment or emotion, contribute to our understanding of literary narrative. (shrink)

From mid-2020 until early 2023, the Chronicle of Higher Education published a series of essays that, when summed up, represents a valediction for English and American literary studies as practiced during the last half century. Some of the Chronicle authors, enjoying the privilege of tenure, speak for the profession as it was in healthier times. Others, representing a younger generation of scholars, hold on to unstable teaching positions. All are disconsolate.The essays, collected on the Chronicle website, look back to (...) those earlier times to seek the reasons for today's dreary situation. In dirgelike recitations, external causes are named and excoriated: the drying up of state funding, the growth of administrative personnel at the cost of faculty positions, the reluctance of debt-ridden students to concentrate on studies not leading to jobs, and the general parental and public resistance to anything considered effete. But at least one contributor to the series, Michael Clune of Case Western Reserve University, will not permit his fellow teachers to escape whipping: “Our fuzziness about what we do raises in the minds of our publics the not unreasonable assumption that we don't know what we're doing. The crisis in the humanities requires that we be open and honest about our discipline's rationales.”What does such a call to action mean? Does Clune ask for more exacting curricular control, more agreement as to pedagogical mission, a greater consensus about certifiable merit in professional advancement? About specific alterations to the system, he is not forthcoming, and this generalization applies to most of the other contributors as well: the prognosis is clear but the cure beyond anyone's reach. Why? To propose radical changes to the humane disciplines, even when most necessary, invites deep resistance. If professors are largely political liberals, they are also pedagogical archconservatives. Clune is nevertheless right in asking fellow professors for candor about what they are doing. The one strategy that cannot work is rehearsing their woes in public. Nor can a focus on the theoretical skirmishes in which they entangle themselves create the kind of consumer demand—student demand—that is needed. Unless they can collectively devise (or recover) intellectual attractions to draw in a new generation of students and fill lecture halls and seminar seats with them, humanists will be even further shunted to the sidelines.Another essayist, herself determined to get matters straightened out and thereby save the discipline, imagines her colleagues uniting to establish a stricter definition of what they collectively should do. Hannah Walser of the Harvard Society of Fellows believes that professors teaching literary works have been all too satisfied with the wasteful art of praising or derogating the performance or rhetorical brilliance of their colleagues: “In literary studies’ more affirmative modes, elaborate assurances of our colleagues’ competence—those more-a-comment-than-a-questions that praise a talk as beautiful, brilliant, powerful, and so on—end up standing in for actual arguments about the rightness or wrongness of a claim.” Literary works do not function as truth-telling “claims,” however, but as imaginative creations entertaining both truth and falsehood, the “real” as well as the “unreal.” In order to read those creations, and to share those readings with others, teachers must agree on the empirical terms, the evidentiary tools, to use. Walser rightly wants everyone to play the same game with the same rules. Only then can teachers come to terms with literary objects whose ultimate value is determined by something direct and visceral—aesthetic pleasure. But while Walser is right to call for procedural agreement, such a call will not, by itself, entice students to return to the classroom.In another essay, Katie Kadue looks back nostalgically to a time when, in its modest way, the world of literary studies had “stars,” when the English Institute featured brilliant personages at well-attended meetings, when jobs were plentiful and seminal books about theoretical issues were everywhere discussed. To Kadue, a young scholar, such moments seem all the more dazzling and attractive by virtue of their absence today. Were “stars” again to capture collective attention, a sign would be given that the humanities could recover its health and make literary study attractive to students again.Hence the Chronicle publication concludes with portraits of two humanists, Sianne Ngai and Mark McGurl, who have gained some recognition and acclaim. Perhaps, as the Chronicle suggests, with them a new constellation of stars is coming into view.Ngai is the author of three impressive and widely discussed monographs, the most recent being Theory of the Gimmick (2020), which, with a complexity uniquely its own, asks the reader to study the mixed attraction and repulsion produced by the intrusion of a “gimmick”—something in a text that draws attention to itself and exposes the inner workings of the text. When we encounter a gimmick in a text, it provokes both suspicion and pleasure: “When we say something is a gimmick, we mean it is overrated and deceptive, that you would have to be a sucker to fall for it. Yet gimmicks exert a strange hold on us. As with a magic show, we can enjoy the gimmick even while we know we are being tricked.” Other gimmicks—arousing “small” or “minor” affects—have been overlooked or dismissed in conventional literary discourse. Ngai, entranced by them, also argues that, beyond suspicion, pleasure, and annoyance, gimmicks have the power to reveal deep cultural, economic, and political forces shaped by contemporary capitalism.Ngai's strategy is ingenious and idiosyncratic. Its apparent strength is that it can explain everything—literary, economic, political, and cultural—that comes within its range. But its very originality renders it inoperable by anyone, be it student or teacher, other than its inventor. Like Marshall McLuhan, Hugh Kenner, Leslie Fiedler, and Stanley Fish before her—each of them working with a home-grown methodology—Ngai herself is her theory. Her inimitability prevents her theoretical procedures from becoming a generally shared answer to the classroom problems of literary study.McGurl, a sociologist of textual production, readership, and consumption, is more conventional than Ngai. He is certainly more omnivorous. He is interested in everything out there for the reader or listener to acquire, high or low, bad or good, by way of book, podcast, recording, or any other means or genre. His recent book Everything and Less: The Novel in the Age of Amazon shows how the company “has created the psychological and temporal conditions that not only alter how fiction is bought, sold, distributed, and read, but also how it is produced.” Might it be possible—and attractive—for teachers and students to follow and extend procedures like those of McGurl? An immense panorama of verbal matter might thereby await classroom after classroom. With much to read and much to hear, professors and students could examine and evaluate data aplenty. Might classrooms and seminar rooms once again be filled, this time by sociologists of literature? Professor Clune's query—“Why should students listen to me? What claim do I have on the public?”—could then be answered: We and you hereby claim everything written as our province; we, a new generation of humanists, will thus have work enough.Alas, for universities and colleges to make such a move—to resolve that literary study should embrace all of writing—would be to forfeit the one inestimably valuable form of intellectual capital now and forever readily available to them: that unique body of works known as literature: poetry, drama, fiction. Some professors appear to believe that this capital asset is wanting, depleted as a source, and therefore impotent to generate exciting scholarly work or teaching—which is why, for the last four or so decades, “theory” in its many varieties has proved so seductive. But theoretical discourse, derivative and secondary, proves vapid without the fiction, poetry, and drama from which it derived and on which it survives. Recognizing the rare power to be found in the works themselves and nowhere else, it is to those works that teachers must somehow return. Only then will there be compelling reason to hope that students will follow. (shrink)

Poetry, fiction, literary history, and politics. These four cornerstone concerns of Roberto Bolaño's work have established him as a representative, generational figure in not only Chile, Mexico, and Spain, the three principal locations of his life and work, but throughout Europe and the Americas, increasingly on a global scale. At the heart of Bolaño's 'poemas-novela', his poet- and poetry-centered novels, is the history and legacy of the prose poem. Challenging the policing of boundaries between verse and prose, (...) poetry and fiction, the literary and the non-literary, the aesthetic and the political, his prose poem novels offer a sustained literary history by other means, a pivotal intervention that restores poetry and literature to full capacity. Framing Roberto Bolaño is one of the first books to trace the full arc and development of Bolaño's work from the beginning to the end of his career. (shrink)

This concise volume addresses the question of whether or not language, and its structure in literary discourses, determines individuals' mental 'vision, ' employing an innovative cross-disciplinary approach using readers' drawings of their mental imagery during reading. The book engages in critical dialogue with the perceived wisdom in stylistics rooted in Roger Fowler's seminal work on deixis and point of view to test whether or not this theory can fully account for what readers see in their mind's eye and how (...) they see it. The work draws on findings from a study of English and Dutch across a range of literary texts, in which participants read literary text fragments and were then asked to immediately draw representations of what they had seen envisioned. Building on the work of Fowler and more recent theoretical and empirical language-based studies in the area, Klomberg, Schilhab and Burke argue that models from embodied cognitive science can help account for anomalies in evidence from readers' drawings, indicating new ways forward for interdisciplinary understandings of individual meaning construction in literary textual interfaces. This book will be of interest to students and scholars in stylistics, cognitive psychology, rhetoric, and philosophy, particularly those working in embodied cognition. (shrink)

During the last decades, there has been a debate on the question whether literary works are utterances, or have utterance meaning, and whether it is reasonable to approach them as such. Proponents of the utterance model in literary interpretation, whom I will refer to as “utterance theorists”, such as Noël Carroll and especially Robert Stecker, suggest that because of their nature as linguistic products of intentional human action, literary works are utterances similar to those used in everyday (...) discourse. Conversely, those whom I will refer to as “appreciation theorists”, such as Stein Haugom Olsen and Peter Lamarque, argue that literary works are by no means comparable to conversational utterances, and treating them in terms of utterances mistakenly dismisses their literary features. The aim of this article is twofold: to defend a central aspect of the utterance theory and to reconcile the two main positions about central issues in the debate on the meaning of literary works. On the one hand, I shall argue that it is both legitimate and reasonable to discuss the utterance meaning of a literary work on the basis of an interpretative approach interested in the author's “message”. My aim is to show that literary works should be considered utterances in a conversational approach which aims at examining the illocutionary actions conveyed through the work. On the other hand, I attempt both to show that there are various legitimate interpretative approaches which are governed by the interpreter's purposes, and to suggest that the debate between utterance theorists and appreciation theorists is actually about merely different emphases. (shrink)

The purpose of this symposium is to explore the ways in which literature, broadly construed to include poetry and narrative in a variety of modes of representation, can change the world by providing interventions in justice. Our approach foregrounds the relationship between the activity demanded by some individual literary works and some categories of literary work on the one hand and the way in which those works can make a tangible difference to social reality on the (...) other. We consider three types of active literary engagement: doing philosophy, ideological critique, and necessary rather than contingent performance. Kate Kirkpatrick opens with Kamel Daoud’s The Meursault Investigation (2013), reading the narrator as not only a critic of colonial and postcolonial discourse but also a literary exemplar of the search for justice when it is difficult to know to what level of explanation to attribute its absence. Rafe McGregor demonstrates how the final season of Prime Video’s The Man in the High Castle (2015–19) makes a radical break from the previous three, exposing the misanthropy at the core of right-wing populism and calling for a fundamentally democratic response from the left. Finally, Karen Simecek argues that poetry in performance has a potentially reparative function for the ethically lonely – the vulnerable, the oppressed, and the persecuted – in society. (shrink)

South African writer Phaswane Mpe (1970—2004) is often canonized and memorialized as a brave truth-teller who broke the silence on HIV/AIDS in the context of government silence and denial. And yet Mpe’s writings—including poetry, short stories, a novel, and scholarly criticism—contemplate illness as a problem for truth and representation in works that linger in silence and ambiguity. This article analyses the tension between silence and speech in Mpe’s creative writing in response to HIV/AIDS. Using Mpe’s works as an illustrative example, (...) I trouble the desire to read illness narratives as forms of truth-telling and silence-breaking. The desire for the transparency of speech in a global archive of illness narratives also informs a colonial politics of representation that instrumentalizes literature as ethnographic evidence. Mpe’s writing on HIV/AIDS refuses a demand for authenticity by holding the embodied experience of disease at a slight remove from the reader in order to register the forms of spiritual and epistemological crisis that epidemic and social loss produce. My contention is that the political stakes of this writing lie not in Mpe’s ability to render a public health crisis with verisimilitude, but in the capacity for writing to provide solace and sublimity faced with death. Through an analysis of Mpe’s fiction and poetry, this article proposes a methodology for reading the politics of illness narratives across globalized space which attends to the world-building potential of creative expression as a radical practice that resists incorporative models of aesthetic intelligibility. (shrink)

This paper investigates the emotional import of literary devices deployed in fiction. Reflecting on the often-favored approach in the analytic tradition that locates fictional characters, events, and narratives as sources of readers’ emotions, I attempt to broaden the scope of analysis by accounting for how literary devices trigger non-cognitive emotions. I argue that giving more expansive consideration to literary devices by which authors present content facilitates a better understanding of how fiction engages emotion. In doing so, (...) I also explore the somatic dimension of reading fiction. (shrink)

In analytic aesthetics, a popular ‘cognitivist’ line of thought maintains that literary works of fictional kind may ‘imply’ or ‘suggest’ truths. Nevertheless, so-called anti-cognitivists have considered the concepts of implication and suggestion both problematic. For instance, cognitivists’s use of the word ‘implication’ seems to differ from all philosophical conceptions of implication, and ‘suggestion’ is generally left unanalysed in their theories. This paper discusses the role, kinds and conception of implication or suggestion in literature, issues which have received little (...) attention in contemporary literary aesthetics. In the first part, the author shall examine classic views on implication in literature and introduce objections to the views. In the latter part, in turn, the author shall propose a definition of the ‘literary suggestion’ and discuss issues related to its interpretation. (shrink)

In this paper, I shall examine two types of assertions in literary narrative fiction: direct assertions and those I call literary assertions. Direct assertions put forward propositions on a literal level and function as the author’s assertions even if detached from their original context and applied in so-called ordinary discourse. Literary assertions, in turn, intertwine with the fictional discourse: they may be, for instance, uttered by a fictional character or refer to fictitious objects and yet convey the (...) author’s genuine assertions. The structure of the paper is twofold. The first, descriptive part is a question–answer type of discussion in which I shall introduce general philosophical arguments against assertions in fiction and present counter-arguments to them, paving the road to my account of literary assertions. In the second, argumentative part, in turn, I shall examine the nature of literary assertions, such as their semantic and ‘aspectival’ characteristics and their peculiar illocutionary force as well as the reader’s stance toward them. (shrink)

Patrick Fessenbecker is Assistant Professor in Cultures, Civilizations, and Ideas at Bilkent University in Ankara. Reading Ideas in Victorian Literature is his first monograph and constitutes a substantial development of the argument he introduced in ‘In Defense of Paraphrase’, the essay that won New Literary History’s Ralph W. Cohen Prize in 2013. The purpose of the book is twofold: to problematize the formalist approach that has achieved hegemony in contemporary literary studies and to offer an alternative way of (...) approaching literary theory and literary criticism, which can be conceived as ‘content formalism’ (p. 29). Fessenbecker provides a humorous but nonetheless accurate summary of his aim as defending the ‘meaning-mongers’ (Joshua Landy’s term) from the ‘form-fetishists’ (p. 17) in order to promote the marginalized tradition of ‘thoughtful reading’ (p. 18). The monograph consists of six chapters bookended by a long introduction and a short epilogue and although it is not divided into parts, two chapters each are devoted to a particular problem with the formalist hegemony in literary studies. The problems are framed in terms of three assumptions that the discipline takes for granted, presented as: form is what makes literature distinctive; the history relevant to literary criticism is the history of form; and aesthetic experience is a property of form. Fessenbecker addresses each of these assumptions by first providing a literary theoretical argument that promotes an alternative approach (Chapters 1, 3, and 5) and then exemplifying that approach by literary critical practice on the novels of Anthony Trollope (Chapter 2) and George Eliot (Chapter 4) and the poetry of Robert Browning and Augusta Webster (Chapter 6). (shrink)

In her study Fiction and Imagination: The Anthropological Function of Literature (2000), Margit Sutrop criticizes Gregory Currie’s theory of fiction-making, as presented in The Nature of Fiction (1990), for using an inappropriate conception of the author’s ‘fictive intention.’ As Sutrop sees it, Currie is mistaken in reducing the author’s fictive intention to that of achieving a certain response in the audience. In this paper, I shall discuss Sutrop’s theory of fiction-making and argue that although her view is insightful in distinguishing (...) the illocutionary effect and the perlocutionary effect in the author’s fictive intention, there aren flaws in it. My aim is to show that, first, Sutrop’s critique of Currie’s view is misguided and, second, her own definition of fiction as an expression of the author’s imagination is problematic in not distinguishing literary fiction-making from other discursive functions and in dismissing the literary practice which regulates the production of literary fictions. (shrink)

In my dissertation, I develop a novel approach to thought experiments and literary learning. It’s novel primarily because, unlike many prominent approaches, it has us refrain from advancing theories, from giving logical analyses, and from explicating. We are, instead, to proceed in a way inspired by Wittgenstein’s writings. We are, that is, to clarify words that give rise to problems and to clear those problems away. To clarify words, we may compare language games in which figure terms like (...) “thought experiment.” Thereby, we might see that the concept these terms express has a family resemblance character. To clear away problems, we may describe how such a concept, if not illuminated, yields philosophical problems about thought experiments and literary learning. -/- After I develop this approach, I bring it to bear on two problems, and I achieve two main results. One problem concerns the nature of thought experiments. It is: Why do we have trouble explaining what we know them to be? I find that, despite appearances, we have no such trouble. Central to this result are two claims about thought experiments. One is that imaginings aren’t common to them. The other is that our unreflective concept of them has a family resemblance character. -/- The other problem concerns stories in works of literary fiction. It is: How could we possibly learn about the world from them? To solve it, you might claim that we learn by performing thought experiments, and then appeal to a theory of them. I find that you’d risk explaining the wrong thing. That is, you may well explain only how we learn—not how we do so from literature itself. Central to this result are three claims, which concern how these stories differ from thought experiments. They differ, I claim, (i) in how we count imaginings as experiences of them, (ii) in how free we are to interpret them, and (iii) in how complex they may be. This done, I’ve twice taken my novel approach and achieved results. (shrink)

In her study Fiction and Imagination: The Anthropological Function of Literature (2000), Margit Sutrop criticizes Gregory Currie’s theory of fiction-making, as presented in The Nature of Fiction(1990), for using an inappropriate conception of the author’s ‘fictive intention.’ As Sutrop sees it, Currie is mistaken in reducing the author’s fictive intention to that of achieving a certain response in the audience. In this paper, I shall discuss Sutrop’s theory of fiction-making and argue that although her view is insightful in distinguishing the (...) illocutionary effect and the perlocutionary effect in the author’s fictive intention, there are flaws in it. My aim is to show that, first, Sutrop’s critique of Currie’s view is misguided and, second, her own definition of fiction as the author’s expression of her imagination is problematic in not distinguishing literary fiction-making from other discursive functions and in dismissing the literary practice which regulates the production of literary fictions. (shrink)

Literature has been philosophically understood as a practice in the last thirty years, which involves “modes of utterance” and stances, not intrinsic textual properties. Thus, the place for semantics in philosophical inquiry has clearly diminished. Literary aesthetic appreciation has shifted its focus from aesthetic realism, based on the study of textual features, to ways of reading. Peter Lamarque’s concept of narrative opacity is a clear example of this shift. According to the philosophy of literature, literature, like any other (...) art form, does not compel us to engage realistically with it. Against this trend, this paper argues for the distinction between two kinds of opacity, defending textual opacity as a necessary condition for literary opacity. In this sense, examples in literary criticism properly illustrate not a peripheral role of meaning in literary appreciation, but arbitrariness in interpretation, which involves semantic concerns. So the assumed interest in the specific ways in which literature embeds meaning in fictional narrative works. (shrink)

To explore literary silence is to explore the relationships between literary texts and the silence of the ineffable. It is to enquire what dynamics texts develop as they strive to 'say the unsayable', and it is to think literature as a silence that speaks itself. This study describes these literary and silent dynamics through readings of Pascal's Pensées, Rousseau's Rêveries, and Beckett's trilogy Molloy, Malone meurt, and L'Innommable. It contributes to our understanding of three major writers and (...) challenges our idea of what silence is. The subject of silence and of the ineffable has a long philosophical and critical tradition. A careful study of this tradition reveals the dominance of a limiting dualistic understanding of silence and its relationship to noise or language: silence becomes the negative other, the beyond, about which there remains nothing to say. The study of literary silence seeks rather to trace a language that becomes its own silence. It compromises the attempt to think a silence that moves within and through texts, that is inherent to the literary expression. Central to this theoretical endeavour are thinkers like Derrida, Deleuze, Gadamer, and Vattimo. The theoretical understanding of silence permits an effective methodology for reading literary silence. Notions of repetition, the aporia and the implosion, which are developed in reference to Kierkegaard and Bataille, describe textual strategies of literary silence and structure the readings. Finally, the reading of literary silence has its point of reference in writers like Mallarmé, Blanchot, and Beckett. It is their texts that have taught us to become topological readers, to move in and out of texts' movements; they have shown us how the literary expression is irreducible to linear, meaning oriented language. As readers of such texts we have been prepared to read the dynamics of the unsayable, and finally to start discerning the silences of the literary. (shrink)

A new analytical framework for understanding literary videogames, the literary-ludic spectrum, illustrated by close readings of selected works. In this book, Astrid Ensslin examines literary videogames—hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on a digital (...) medium (unlike, for example, conventional books read on e-readers). They employ narrative, dramatic, and poetic techniques in order to explore the affordances and limitations of ludic structures and processes, and they are designed to make players reflect on conventional game characteristics. Ensslin approaches these hybrid works as a new form of experimental literary art that requires novel ways of playing and reading. She proposes a systematic method for analyzing literary-ludic (L-L) texts that takes into account the analytic concerns of both literary stylistics and ludology. After establishing the theoretical underpinnings of her proposal, Ensslin introduces the L-L spectrum as an analytical framework for literary games. Based on the phenomenological distinction between deep and hyper attention, the L-L spectrum charts a work's relative emphases on reading and gameplay. Ensslin applies this analytical toolkit to close readings of selected works, moving from the predominantly literary to the primarily ludic, from online hypermedia fiction to Flash fiction to interactive fiction to poetry games to a highly designed literary “auteur” game. Finally, she considers her innovative analytical methodology in the context of contemporary ludology, media studies, and literary discourse analysis. (shrink)

How can literature, which consists of nothing more than the description of imaginary events and situations, offer any insight into the workings of "human reality" or "the human condition"? Can mere words illuminate something that we call "reality"? Bernard Harrison answers these questions in this profoundly original work that seeks to re-enfranchise reality in the realms of art and discourse. In an ambitious account of the relationship between literature and cognition, he seeks to show how literary fiction, by (...) deploying words against a background of imagined circumstances, allows us to focus on the roots, in social practice, of the meanings by which we represent our world and ourselves. Engaging with philosophers and theorists as diverse as Wittgenstein, Sartre, Merleau-Ponty, Foucault, Derrida, F. R. Leavis, Cleanth Brooks, and Stanley Fish, and illustrating his ideas through readings of works by Swift, Woolf, Appelfeld, and Dickens, among others, this book presents a systematic defense of humanism in literary studies, and of the study of the Humanities more generally, by a distinguished scholar. (shrink)

In Nabokov's Lectures on Literature, he writes: "Style and structure are the essence of a book; great ideas are hogwash." The essays in No Symbols Where None Intended: Literary Essays from Laclos to Beckett use Nabokov's stylistic approach to well-known texts (fiction, drama and criticism) as a point of departure. Notions of style and structure link the three prose pieces discussed in the text, (Beckett, Smart, and Turgenev,) to the fiction and drama of Ibsen and Strindberg. Mark Axelrod (...) joins a wide and deep conversation on writers on writing. (shrink)

This article deals with women-centred prose texts of the 1990s and 2000s in Russia written by women, and focuses especially on generation narratives. By this term the author means fictional texts that explore generational relations within families, from the perspective of repressed experiences, feelings and attitudes in the Soviet period. The selected texts are interpreted as narrating and conceptualizing the consequences of patriarchal ideology for relations between mothers and daughters and for reconstructing connections between Soviet and post-Soviet by revisiting (...) and remembering especially the gaps and discontinuities between (female) generations. The cases discussed are Liudmila Petrushevskaia’s ‘povest’ Vremia noch [The Time: Night] (1991), Liudmila Ulitskaia’s novel Medeia i ee deti [Medea and her Children] (1996) and Elena Chizhova’s novel Vremia zhenshchin [The Time of Women] (2009). These novels reflect on the one hand the woman-centredness and novelty of representation in women’s prose writing in the post-Soviet period. On the other hand, the author suggests that they reflect the diverse methods of representing the Soviet era and experience through generation narratives. The texts reassess the past through intimate, tactile memories and perceptions, and their narration through generational plots draws attention to the process of working through, which needs to be done in contemporary Russia. The narratives touch upon the untold stories of those who suffered in silence or hid the family secrets from the officials, in order to save the family. The narration delves into the different layers of experience and memory, conceptualizing them in the form of multiple narrative perspectives constructing different generations and traditions. In this way they convey the ‘secrets’ hidden in the midst of everyday life routines and give voice to the often silent resistance of women towards patriarchal and repressive ideology. The new women’s prose of the 1980s–90s and the subsequent trend of women-centred narratives and generation narratives employ conceptual metaphors of reassessing, revisiting and remembering the cultural, experiential, and emotional aspects of the past, Soviet lives. (shrink)

This volume explores whether there can be a specific lesbian aesthetic, juxtaposed against reading as a 'woman' or as a 'heterosexual'. Contributors both explore the uses of recent theories such as post-structuralism and offer a lesbian critique of such methodologies. Close readings of contemporary lesbian fiction and popular culture focus on works such as _Zami, Oranges Are Not the Only Fruit, The Wanderground_, and _Desert of the Heart_ as well as on lesbian pornography. Together the essays point to lesbian culture's (...) ability to create new meanings for iteself and to foreground the intertextuality of lesbian identities.Contributors: Sonya Andemahr, Lisa Henderson, Hilary Hinds, Katie King, Reina Lewis, Sally Munt, Gillian Spraggs, Angela Weir, Anna Wilson, Elizabeth Wilson, and Bonnie Zimmerman. (shrink)

In Thinking with Literature: Towards a Cognitive Criticism (2016), Terence Cave argues that the "calculus of literary value, whether aesthetic, ethical, or more broadly cultural, is a universal feature of literate cultures" which "arises from the sense that fiction, poetry, theatre, and their analogues are potential goods and potential evils, so that it becomes a matter of urgent concern to calibrate those values in relation to the wider values of the culture in question."1 The question of fiction's cognitive (...) affordances and instrumentality—or sense of purpose, if you will—has now been reframed into a larger scope, that of literary studies in relation to human flourishing.The title of the edited volume under... Read More. (shrink)

This article is a reaction to the following argument that has been offered in favor of abstract realism about fictional characters: fictional characters do not impose any extra ontological cost on our ontology, because they belong to the same ontological kind as literary works, which we already accept. I address arguments that have been adduced by Jeffrey Goodman in defense of this argument, and I show that there is no relevant parallelism between fictional entities and literary works (...) that the abstract fictional realist can use to bolster her theory. (shrink)

The key word in amy account of the different ways that visual details are presented by novels and films is "assert." I wish to communicate by that word the force it has in ordinary rhetoric: an "assertion" is a statement, usually an independent sentence or clause, that something is in fact the case, that it is a certain sort of thing, that it does in fact have certain properties or enter into certain relations, namely, those listed. Opposed to asserting there (...) is mere "naming." When I say, "The cart was tiny; it came onto the bridge," I am asserting that certain property of the cart of being small in size and that certain relation of arriving at the bridge. However, when I say "The green cart came onto the bridge," I am asserting nothing more than its arrival at the bridge; the greenness of the cart is not asserted but slipped in without syntactic fuss. It is only named. Textually, it emerges by the way. Now, most film narratives seem to be of the latter textual order: it requires special effort for films to assert a property or relation. The dominant mode is presentational, not assertive. A film doesn't say, "This is the state of affairs," it merely shows you that state of affairs. Of course, there could be a character or a voice-over commentator asserting a property or relation; but then the film would be using its sound track in much the same way as fiction uses assertive syntax. It is not cinematic description but merely description by literary assertion transferred to film. Filmmakers and critics traditionally show disdain for verbal commentary because it explicates what, they feel, should be implicated visually. So in its essential visual mode, film does not describe at all but merely presents; or better, it depicts, in the original etymological sense of that word: renders in pictorial form. I don't think that this is mere purism or a die-hard adherence to silent films. Film attracts that component of our perceptual apparatus which we tend to favor over the other senses. Seeing, after all, is believing. Seymour Chatman, professor in the department of rhetoric at the University of California, Berkeley, is the author of The Later Style of Henry James and Story and Discourse: Narrative Structure in Fiction and Film. His contribution to Critical Inquiry, "Reply to Barbara Herrnstein Smith" appeared in the Summer 1981 issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 80-97 [Access article in PDF] Literary Truth as Dreamlike Expression in Foucault's and Borges's "Chinese Encyclopedia" Robert Wicks ALTHOUGH THE TOPIC REMAINS MOSTLY unexplored, Michel Foucault had an aesthetic and intellectual attraction towards writers and artists in the Spanish-speaking tradition. For example, at the conclusion of his Histoire de la folie (Madness and Civilization, 1961)—a book which brought him extensive intellectual recognition (...) in France—Foucault drew his readers' attention to José de Goya y Lucientes's (1746-1828) well-known etching, El Sueño de la Razón Produce Monstruos (The Sleep of Reason Brings Forth Monsters, Plate 43 of Los Caprichos, 1797). In Foucault's estimation, by revealing a "night which is doubtless that of classical unreason," Goya's work represented a socially removed condition within which people encounter "what is most solitary" and experience what is "deepest" within themselves. With his reference to Goya's imagery, Foucault illustrated a major theme of his history of madness, namely, how people referred to as "mentally ill" experienced a gradual, physical exclusion from participation in public society, and how they were eventually isolated in a more frightening way: within their physical confinement, they were subject to techniques of psychological and spiritual alienation that reduced them to a condition of utter solitude.In a comparable, if not more central manner, Foucault used as thematic motifs for the preface, first and second chapters of a book for which he is widely known, Les Mots et les choses (The Order of Things, 1966), the work of three major writers and artists from the Spanish-speaking world: Jorges Luis Borges (1899-1986), Diego Velázquez (1599-1660), and Miguel de Cervantes (1547-1616). Among these references, the most popular is probably Foucault's discussion of [End Page 80] Velázquez's Las Meninas—a painting which captured Foucault's interest as a perfect exemplar of its time period—and which inspired him to devote the entire first chapter of his book to decoding the mechanics of its perspectival arrangement. And within the community of those who read, write and discuss the interrelationship between Foucault's thought, literary theory and the contemporary emphasis upon the multivocal quality of textual meaning, Foucault's citation of an excerpt from a short story by Borges—the subject of this essay—is also familiar. Foucault introduced his 1966 book, The Order of Things, with the following words: This book first arose out of a passage in Borges, out of the laughter that shattered, as I read the passage, all the familiar landmarks of my thought—our thought, the thought that bears the stamp of our age and our geography—breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other. This passage quotes a "certain Chinese encyclopedia" in which it is written that "animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) suckling pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies." In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that. 1The short story from which Foucault extracted the above, quasi-cubistic, excerpt was published in Borges's 1952 collection, Otras Inquisiciones (Other Inquisitions), and is entitled, "The Analytical Language of John Wilkins." Although this story's entirety is rarely surveyed in discussions of Foucault, appreciating its broader contents helps illuminate why Foucault began The Order of Things with this entertaining and bizarre segment. Borges's original... (shrink)

Ferdinand de Saussure's distinction between parole and langue has greatly helped linguists to clarify the relationship between particular speech events and the underlying reservoir of verbal signs and combinatory rules. The relationship emerges from Saussure's Cours de linguistique générale as one between concrete instances of employed language and a slowly but permanently changing virtual system.1 It seems to me that the more recent literary distinctions between the implied author of a work and its actual author and between the implied (...) and the actual reader point to similar relationships along the rhetorical axis of communication.2 For example, the respective authors implied by The Comedy of Errors and by The Tempest are in a sense fixed, concrete manifestations of the actual author whose permanently shifting potential of manifesting himself in literary works or otherwise was only partially realized between 1564 and 1616; his full potential has thus forever remained virtual. The congenial readers implied by the respective plays are in turn two of many "roles" which an actual reader may attempt to slip into for the length of time it takes him to read one work or another. Even a book like Mein Kampf will be adequately understood only by men and women able and willing temporarily to become Adolf Hitler's implied readers. The price may be high, but having shed the mental mask and costume required for the proper "performance" of the text, a discerning person will emerge from the ordeal with a keener sense of the despicable part assigned to the book's actual readers. I hardly need to add that works of imaginative literature tend to imply readers whose intellectual, emotive, and moral response is far less predetermined than is the response of the reader implied by the typical work of assertive discourse. · 1. Ferdinand de Saussure, Cours de linguistique générale , 4th ed. . Since this book was posthumously compiled from the notes of students attending three different sets of lectures, I am not overly troubled by the fact that the letter of at least two sentences seems to contradict my characterization of langue as a virtual and changing system: "La langue n'est pas moins que la parole un objet de nature concrète" and "tout ce qui est diachronique dans la langue ne l'est que par la parole" . See also Wade Baskin's English trans., Course in General Linguistics , pp. 15 and 98.· 2. See esp. Wayne C. Booth, The Rhetoric of Fiction and Wolfgang Iser Der implizite Leser , trans. as The Implied Reader . Paul Hernadi is professor of English and comparative literature at the University of Iowa. His book, Beyond Genre: New Direction in Literary Classification, is soon to appear in Spanish translation. He has edited a collection of essays titled What is Literature? and written a book on modern historical tragicomedy. "On the How, What, and Why of Narrative" was contributed to Critical Inquiry in the Autumn 1980 issue. (shrink)

In the history of literary experimentation, the writer has evolved into a social medium for literary readings of numerous literary works that were previously only known to those with a keen interest in literature and literary genres. As a result, many well-known literary works have been succinctly summarised in front of everyone in a way that is both helpful and provides details while still remaining concise. In this essay, the researcher wants to show how Twitter (...) has developed into a literary form, competing with other well-known literary works like novels, plays, short stories, and poetry, particularly haiku. Beginning with an introduction to Twitter literature and its definition, the study then focuses on the format in which literary tweets are provided, including the word count and length of the presentation of the literary work. Then, the literary subgenres that appeared on Twitter were criticised. The paper provides instances of literary accounts on Twitter and distinguishes the literary genres on Twitter. The study also discusses Twitter’s literary value in educating readers about a variety of literary works, particularly those who are uninterested in or uninterested in literature. Moreover, the distinction between reading literary works in their authentic forms vs their Twitter-based forms. The researcher contrasts the literary subgenres that are best suited for Twitter distribution. As a complement to the other well-known literary genres and in keeping with the varied, quick, and advanced modern day, the researcher concludes by presenting Twitter as one of the crucial literary genres of the new millennium that must be given significance and relevance. However, this study makes the case that Twitter might be. It is seen as an expression of an experimental platform for postmodern electronic literature that can ensure a revival of the steadily dwindling fantasy reading habit that is appealing to the generation of technology enthusiasts. (shrink)

This paper is focused on the abstractist theory of fictional discourse, namely, the semantic theory according to which fictional names refer to abstract entities. Two semantic problems that arise in relation to that position are analysed: the first is the problem of accounting for the intuitive truth of typically fictive uses of statements containing fictional names; the second is the one of explaining some problematic metafictive uses, in particular, the use of intuitively true negative existentials.Este artículo se ocupa de (...) la teoría abstracta del discurso de ficción, a saber, la teoría semántica según la cual los nombres de ficción refieren a entidades abstractas. Se analizan dos problemas semánticos que surgen en relación con esta posición: el primero es el problema de dar cuenta de la verdad intuitiva de usos típicamente fictivos de enunciados que contienen nombres de ficción; el segundo es el de explicar algunos usos metafictivos problemáticos, en particular el uso de existenciales negativos intuitivamente verdaderos. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Moving Literary Theory OnWendell V. HarrisParadox has long been especially seductive to literary critics and theorists. For the New Critics, the presence of paradox in a text served to vouch for the complexity and therefore value of the perspective on life the text offered. For poststructuralists it seems to be even more important: paradox is the hallmark of earnestness. And if paradox is good, self-contradiction is even (...) better. That at least would seem to be the reasoning that justifies the amount of internal contradiction to be encountered among the critical principles most in vogue these days. Let us note twelve of the most egregious of these contradictions.(1) New Criticism is dead. But the New Critics’ major activity, the pursuit of the author’s intended meaning through close reading, is still very much with us. However much poststructuralists have wished to deny the importance of or possibility of achieving understanding of authorially intended meaning, their own critical commentary necessarily begins with the meaning the author is assumed to have intended. For instance, that which Derrida seeks to deconstruct or undercut in Saussure, Rousseau, Austin, or Searle begins in what he thinks they intended to say. However, the New Critic sought to resolve apparent contradictions on the principle that the interpretation producing the greatest consistency would be nearest the author’s meaning (since the author was assumed to have assumed that the reader would assume that the author intended a non-contradictory statement). In contrast, the poststructuralist typically seeks to find and emphasize or, if necessary, induce contradiction—but only after having assumed that degree of consonance and unity in the text necessary to interpret the intended meaning within which can be sought the contradictions for the [End Page 428] discovery of which the reading was undertaken. The result is thus more often than not a New Critical reading into which contradictions have been injected. One is reminded of the old story of the student in a short story writing class who told his friend that he had the story all written—all he had to do was go back and put in the symbols. The typical poststructuralist begins with a reading much like what one would expect from a New Critic and then begins inducing contradictions.(2) Literature and language cannot really be about anything beyond themselves. At the same time literature and the language on which it is dependent are regarded as largely constituting that which we experience. If language cannot refer to non-linguistic things and events, either it cannot have the power to shape our classifications, descriptions, and evaluations of things and events experienced, or there exists nothing beyond language—in which case we can abolish poverty, racism, and sexism by denying that those words have any meaning. Moreover, if language is about nothing but itself, any formulation that uses language to make statements denying the relationship of language to anything outside itself must be meaningless.(3) All narratives, indeed all statements about the world, are fictional. Yet “fictional” would have no meaning if it did not stand in contrast to those things that are not fictional, while the distinctions made available by the contrast are ones we can hardly do without. There are narratives (1) that both tellers and their hearers/readers know to be not true (“not to be the case” is the evasive formulation popular with philosophers), (2) that tellers and/or hearers/readers think true though they prove not to be, and (3) that tellers think true and are in fact partially, perhaps largely true, but erroneous in some details and necessarily incomplete. These classifications require a modicum of explanation, but to lose one’s way among them would seem to require a wilful pursuit of confusion.Class 1. Oliver Twist is fictional even though there were workhouses, thieves, and such sites as The Angel and Newgate existing at the time at which the narrative is set. Of course, within a fictional narrative, there may be subnarratives the reader is to regard as true within the total fictional narrative and others that are to be regarded as false. To take a light-hearted example, within the narrative of Gilbert and... (shrink)

Reading, even when silent and individual, is a social phenomenon and has often been studied as such. Complementary to this view, research has begun to explore how reading is embodied beyond simply being ‘wired’ in the brain. This article brings the social and embodied perspectives together in a very literal sense. Reporting a qualitative study of reading practices across student focus groups from six European countries, it identifies an underexplored factor in reading behaviour and experience. This factor is the sheer (...) physical presence, and concurrent activity, of other people in the environment where one engages in individual silent reading. The primary goal of the study was to explore the role and possible associations of a number of variables (text type, purpose, device) in selecting generic (e.g. indoors vs outdoors) as well as specific (e.g. home vs library) reading environments. Across all six samples included in the study, participants spontaneously attested to varied, and partly surprising, forms of sensitivity to company and social space in their daily efforts to align body with mind for reading. The article reports these emergent trends and discusses their potential implications for research and practice. (shrink)

This essay concentrates on philosophizing that happens outside and in addition to planned philosophical discussions, philosophizing that comes alive in practice, that is intensified in children’s encounters with the world, with others, with language, in play. It contemplates how adults, educators and parents encounter children and are affected by children’s philosophical explorations. What is the role of the adult in children’s philosophical questioning? How can we respond to children’s philosophizing? What does it mean to do so? The essay explores philosophical (...) exercises for early childhood educators in a range of examples from literature – memoirs, autobiographies, fiction and works that play in between those. By thinking through these literary examples, it investigates how educators can prepare for philosophical encounters with children through exercises of reading and thinking. In doing so the essay experiments with a form of writing that itself becomes a philosophical exercise. Through the examples and exercises the essay suggests how early childhood educators can train for a pedagogical immediacy that involves listening to the philosophical and existential questioning in children’s play, tantrums, and silences. The investigations and readings of the examples are not meant to lead to conclusions that can be directly applied in pedagogical practices; neither do they work as arguments for listening or listening in a particular way to children. What we get, and what I am looking for, is rather the experience of working and thinking through these examples. (shrink)

This article argues that postwar Seventeen magazine, a publication deeply invested in enforcing heteronormativity and conventional models of girlhood and womanhood, was in fact a more complex and multivocal serial text whose editors actively sought out, cultivated, and published girls’ creative and intellectual work. Seventeen's teen-authored “Curl Up and Read” book review columns, published from 1958 through 1969, are examples of girls’ creative intellectual labor, introducing Seventeen's readers to fiction and nonfiction which ranged beyond the emerging “young-adult” literature (...) of the period. Written by young people – including thirteen-year-old Eve Kosofsky (later Sedgwick) – who perceived Seventeen to be an important publication venue for critical work, the “Curl Up and Read” columns are literary products in their own right, not simply juvenilia. Seventeen provided these young authors the opportunity to publish their work in a forum which offered girl readers and writers opportunities for intellectual development and community. (shrink)

Suppositional reasoning can seem spooky. Suppositional reasoners allegedly (e.g.) “extract knowledge from the sheer workings of their own minds” (Rosa), even where the knowledge is synthetic a posteriori. Can literary fiction pull such a rabbit out of its hat? Where P is a work’s fictional ‘premise’, some hold that some works reason declaratively (supposing P, Q), imperatively (supposing P, do Q), or interrogatively (supposing P, Q?), and that this can be a source of knowledge if the reasoning is good. (...) True, I will argue, although only within the context of judicious critical interpretation. Further evident constraints include that the form of the suppositional reasoning needs to be declarative or imperative, and that the fictional ‘premise’ of the work needs to be a metaphysical counterfactual possibility, not merely a temporal counterfactual and not merely an epistemic possibility or probabilistic supposition. (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)

Bringing together poststructuralist ethical theory with late Victorian debates about the morality of literature, this book reconsiders the ways in which novels engender an ethical orientation or response in their readers, explaining how the ...

One of the most characteristic features of Comparative Literature in terms of methodological practice is that of operating in “in between” spaces. Not only does this feature suggest the comparative approach as something which originates through movement, thus making it imperative for the researcher to deal with the notion of mobility, it also characterizes many of the concepts with which it operates. Considering the possibility, as well as the fertility, of practicing this methodology in the analysis and critique (...) of contemporary visual art, we understand that it fits the analysis of any enterprise regarding the in-betweens of visual and verbal texts. These fundamental aspects were elected for a comparative analysis of two visuals artists whose œuvres operate in in-between spaces between the visual and the verbal as much as between the self and the Other. José Leonilson (Brazil 1957-1993) and Louise Bourgeois (France/EUA 1911-2010) reveal, through a comparative analysis, creative and constitutive actions which elaborate a space we could best understand through the image of a seaside landscape where the line we try to draw to divide the saltwater from the sand never stands. But, in what manners could the constituted poetic space created by them be of significance for a broader spectrum than the literary interest? In our understanding, Leonilson’s and Bourgeois’s poetics operate through a silent hearing of the Other, might that be their loved ones, the stone or cloths. This conceptual notion, required for the creative action, thus establishes a particular notion of balance between them and the Other. It is this precise aspect that also operates the mobility of the notion of love through their œuvre, and through the election of personal emotional narratives as the thriving force for creation. And what could be more needed nowadays, here as elsewhere, than considering together with Leonilson’s and Bourgeois’ images that love shall be the perpetual moving space that at times nears, and later distances us from each other? (shrink)

The writings of Ernst Bloch represent one of the lasting linguistic and intellectual achievements of expressionism. What distinguishes Bloch from other expressionists is that he lived long enough to form the impulses of the expressionist break-through into an oeuvre that grew in depth and mastery across half a century. This collection, which dates from 1913 to 1964, represents a field of experiment in which a thinker of astonishing originality exposes his own thought to the provocation of literary, (...) musical, and artistic works, but also to such quasi-artistic phenomena as advertisements, landscapes, cliche;s and obsessive images, films, and forms of interaction in country and city: why does water emerging from a spring so fascinate the human imagination? What is the function of musical accompaniment in a silent film? How does a writer's birthplace imprint itself on his intellect? (shrink)

Silent reading is markedly different from loud reading. For loud reading it is necessary that the spoken words match the printed or written words in accord with rules of pronunciation and grammar. Ordinarily, a loud reader can repeat or describe what he has read, but the acquisition of this ability is not necessary for loud reading. However, for silent reading it is necessary that the reader can repeat or describe the printed or written words that he has read. (...) Inner voicing may be part of the experience of silent reading, but it isn’t necessary. (shrink)

I introduce a middle route between giving a sharp definition and examples to explain what a thought experiment is. It comprises an account of the concept thought experiment that we can rightly apply to different extents. Three explanatory virtues of this account include (i) that we can use it to explain why one thing may seem to be less of a thought experiment than another, (ii) that it provides for a fine-grained explanation of the relation between literary fiction and (...) thought experiment and (iii) that we can use it to explain conflicting intuitions about whether certain literary fictions are thought experiments. (shrink)

This thesis explores and describes the comic features of Samuel Beckett’s prose works. It explores fundamental questions about Beckett’s humour. On the one hand, it investigates the nature of humour, and, on the other, it investigates what counts as humour in Beckett. This twofold investigation requires ‘attuning’ philosophy and literary criticism, where questions and tools of each discipline mutually sharpen and refine each other. Chapter 1 evaluates philosophical accounts of humour and identifies Incongruity Theory as the theory offering (...) the best account of humour. According to this theory, a necessary and not sufficient condition for comic amusement is the perception of an incongruity. Chapter 2 starts exploring what counts as humour in Beckett by examining where comic incongruities are located. By doing so, this chapter puts the Incongruity Theory to the test, and, evaluates the analytical tools ordinarily used in describing humour. This exploration uses Ruby Cohn’s seminal description of Beckett’s humour as a springboard. This chapter individuates a comic layer which Cohn’s description has overlooked – the ‘comic of language acts’. Chapter 3 analyses Beckett’s texts in order to describe the comic devices that depend on the performance of language acts. In order to do so, the discussion makes use of Austin’s Theory of Speech Acts. As a result, this chapter develops a set of tools able to capture ‘the comic of language acts’, a comic layer which crucially shapes Beckett’s writing. Chapter 4 demonstrates how to make use of the set of tools developed in Chapter 3 by examining three key works of Beckett – More Pricks than Kicks, Watt, and Molloy. This examination leads to the individuation of three movements at the level of illocutionary acts – ‘twists’, ‘convolutions’, and ‘oscillations’ – which are informative of Beckett’s writing and of the experience of reading these works. (shrink)

This essay does not aim to investigate film-novel relationships per se, although the fact that the two genres now share certain generative procedures may be further evidence that fiction in print and on film lie to a great extent in a unified field not only of diegesis but also of structure. A diachronic or historical approach to the theory of fictional generators would show that, with the shifts which have occurred on present-day aesthetic thought, much of what once was (...) considered to be a static analysis of retrospective rules or established forms could now be regarded as the disguised beginning of generative theory. Aristotle's seemingly static doctrines of dramatic structure, involving such notions as peripeteia, discovery, or unity of action, to the extent that dramatists had consciously or unconsciously followed such doctrines, obviously served the production of their works, as well as their later analysis. In fact, any sort of artistic intentionality constitutes a kind of "generator," as does the deliberate adherence to outward forms as rhyme schemes, stanzas, cantos, or chapters. As we shall see, it is not always easy to distinguish between generative formulas and self-imposed forms or limits, such as the sonnet with its fourteen lines, its quatrains, and its tercets. Although the most advanced practitioners of generative theory, like Jean Ricardou, seem to view their work as a radical break with the past and the discovery of an entirely new domain of fiction, literary history would provide innumerable examples of precedents, from antiquity through the Grands Rhétoriqueurs, the Gongorists and Baroque poets, and many subsequent groups of writers down to and including the pre-modern and modern periods. Bruce Morrissette has published widely on French fiction of the classical period, Rimbaud and the Symbolist movement, the Nouveau Roman and Robbe-Grillet, and on contemporary film. He is the Sunny Distinguished Service Professor and Chairman of Romance Languages and Literatures at the University of Chicago. He translated Alain Robbe-Grillet's "ARTISTS ON ART: Order and Disorder in Film and Fiction" for the Autumn 1977 issue of Critical Inquiry. (shrink)

Philosophers have often applied a distinctively epistemic framework to the question of how moral knowledge can be derived from fictional literature, by considering how true propositions, or their argumentative support, can be the cognitive fruits of reading works of fiction. I offer an alternative approach. I focus not on whether readers fail to assent to the truth of a proposition or fail to provide it rational support. Instead, I focus on how readers fail to accord a truth (which they (...) already accept) adequate importance in their web of beliefs about living a good human life. This is a form of ignorance, but in the form of neglect, or failure to pay proper regard – which is one sense of the term ‘forgetfulness’. I argue that works of fictional literature may, at times, stimulate audience members to overcome their own particular forms of forgetfulness in this respect. And I use Tolstoy’s The Death of Ivan Ilyich as a case in point. (shrink)

Drawing comparisons with other art forms, this book examines the role of aesthetic features in silent reading, such as narrative structure, and the core experience of reading a novel as a story rather than a scholarly exercise. Focuses on the experience of the art form known as the novel Uses the more common perspective of a reader who reads to be told a story, rather than for scholarly or critical analysis Draws comparisons with experience of the other arts, music in (...) particular Explores the different effects of a range of narrative approaches. (shrink)