The issue of words combinations draws attention of linguists starting from the second half of the XX c. until the present day. This study is focused on the research of semantic mechanisms of unusually combined lexemes and unexpected collocations in English postmodern short-short stories. Reconsideration of the literary past and ironic view on traditional poetic canons are reflected in postmodern literary texts due to the principles of postmodern poetics. Being distinctive feature of postmodern (...) literature in general, uncertainty creates multiplicity of meanings of entire literary text, as well as separate unexpected collocations, by means of unusually combined lexemes. The aim of the study is to elaborate the phenomenon of valence violation, created by unusually combined lexemes and unexpected collocations in English postmodern short-short stories. To achieve this goal, it is necessary to define the notion of valence and lexeme compatibility, to identify types of valence violation in lexemes combinations, and to provide their possible interpretation. Functioning in English postmodern short-short stories such language units widen boundaries of their usage and their combinatorial profile. Unusually combined lexemes focus the reader’s attention and provoke a cognitive mechanism of continuous searching for a hidden meaning of unexpected collocations and the general message of a literary text. In this research unusually combined lexemes are regarded as special markers of postmodern short-short story genre for which violation of text structure, violation of usual relations between lexemes in logic, semantic and syntactic aspects are quite common. (shrink)

This study examines feedback provided by an English teacher to Chilean secondary student texts, in the context of writing short stories collaboratively in an English as a foreign language class. The study aimed to analyze students’ decisions about the teacher’s types of feedback on their short stories. For this investigation, and under the context of qualitative research, there were analyzed 6 consecutive drafts of the students’ short stories, of a public high school in Chile. This (...) is a qualitative research with an action research design. The data collected was analyzed using Straub and Lunsford categories to describe the impact of the teacher’s written feedback on students’ decisions. In terms of students’ decisions, participant students adopted most of the teacher’s comments. The student’s texts evidenced progress, but still, regardless the feedback provided, they presented some grammatical and organizational issues. (shrink)

This paper is about W. Somerset Maugham’s short story The Taipan. I identify two ideas that the story seems to be based on, some related strengths, but also a slight weakness.

A large number of investigations have highlighted the importance of incorporating literary texts into English language teaching programs. Nevertheless, there are scarce studies on how short stories from L1 and L2 literature play a role in reconstructing learner identity in tertiary contexts. The present research study examines the identities of four non-native undergraduate students concerning aspirations for language investment or consumption. Data collection instruments were semi-structured interviews, open-ended questionnaires, and diary writings. The materials taught in the course consisted (...) of three translated Persian and four target fictions related to loyalty and justice. The researchers used qualitative content analysis to explore the language learners’ self-images of initial, story-based, and prospective learning stages. Nearly all the participants regarded language learning as language consumption for pleasure in different stages except for the future aspiration stage; they did not aspire for personal economic benefits. The findings may enlighten curriculum designers in EFL contexts to incorporate literary texts from the native and target cultures into language education materials to provide opportunities for learners to experience diverse identities and meet individual preferences. (shrink)

This study investigates the effectiveness of integrating short stories with task-based learning activities in English as a foreign language (EFL) class to promote vocabulary development and motivation among L2 learners. Six short stories were selected by the participants based on their interests, pre- and post-tests were conducted to evaluate vocabulary acquisition and a questionnaire was used to gather information about the perception of task-based activities after reading short stories among students. The study involved 60 intermediate level (...) English students at the SEEU Language Center, assigned to either the control or experimental group. The experimental group completed post-reading tasks such as keeping vocabulary notebooks, reading circle discussions, sequencing activities, plot structure understanding, and group poster presentations after reading each story. The findings suggest that the incorporating engaging reading activities had a favorable effect on language learning. The experimental group exhibited greater vocabulary acquisition and comprehension than the control group. The follow-up tasks created a sense of achievement, improved communication and interaction among the students. According to the study, including comprehensible input through extensive reading along with constructive output from task-oriented exercises can effectively promote language progress and enhance students’ motivation thus effectively facilitating language development in L2 learners. (shrink)

A key factor that affects whether and at what age children can demonstrate an understanding of false belief and complement‐clause constructions is the type of task used (whether it is implicit/indirect or explicit/direct). In the current study, we investigate, in an implicit/indirect way, whether children understand that a story character's belief can be true or false, and whether this understanding affects children's choice of linguistic structure to describe the character's belief or to explain the character's belief‐based action. We also (...) measured children's understanding of false belief in explicit false‐belief tasks. English‐ and German‐speaking young 4‐ and 5‐year‐olds as well as English‐ and German‐speaking adult controls heard complement‐clause constructions in a story context where the belief mentioned in the complement clause (e.g., “He thinks thatshe's not feeling well”) turned out to be false, true, or was left open. After hearing the test question (“Why does he not play with her?”), all age groups were most likely to repeat the whole complement‐clause construction when the belief turned out to be false. That is, they tended to explicitly refer to the character's perspective and say “He thinks…” When the belief turned out to be true, participants often reverted to a simple clause (“She's not feeling well”). Furthermore, children with better short‐term memory were more likely to repeat the whole complement‐clause construction. However, children's performance in explicit false‐belief tasks showed no relation to their performance in our novel, more implicit/indirect, task. Whether or not the complement clause was introduced by athatcomplementizer only had a small effect on the German adults’ responses, where leaving out the complementizer also changes the word order of the complement clause. Overall, our results suggest that task characteristics and individual differences in short‐term memory affect children's ability to demonstrate false‐belief understanding and to express this understanding linguistically. (shrink)

Reading Feminist Theory: From Modernity to Postmodernity interweaves classical and contemporary writings from the social sciences and the humanities to represent feminist thought from the late eighteenth century to the present. Editors Susan Archer Mann and Ashly Suzanne Patterson pay close attention to the multiplicity and diversity of feminist voices, visions, and vantage points by race, class, gender, sexuality, and global location. Along with more conventional forms of theorizing, this anthology points to multiple sites of theory production--both inside and outside (...) of the academy--and includes personal narratives, poems, short stories, zines, and even music lyrics. Offering a truly global perspective, the book devotes three chapters and more than thirty readings to the topics of colonialism, imperialism and globalization. It also provides extensive coverage of third-wave feminism, poststructuralism, queer theory, postcolonial theory, and transnational feminisms. (shrink)

The present “visual world” eye-tracking study examined the time-course of how native and non-native speakers keep track of implied object-state representations during real-time language processing. Fifty-two native speakers of English and 46 non-native speakers with advanced English proficiency joined this study. They heard short stories describing a target object either having undergone a substantial change-of-state or a minimal change-of-state while their eye movements toward competing object-states and two unrelated distractors were tracked. We found that both groups successfully (...) directed their visual attention toward the end-state of the target object that was implied in the linguistic context. However, neither group showed anticipatory eye movements toward the implied object-state when hearing the critical verb. Only native English speakers but not non-native speakers showed a bias in visual attention during the determiner before the noun. Our results suggested that although native and non-native speakers of English largely overlapped in their time-courses of keeping track of object-state representations during real-time language comprehension, non-native speakers showed a short delay in updating the implied object-state representations. (shrink)

Title: "A Rose for Emily" ("Een roos voor Emily") Author: William Faulkner Translators: Martijn Boven and Maarten Jansen Original language: English Target language: Dutch -/- William Faulkner's "A Rose for Emily", presented her in a Dutch translation, was first published in 1930, in the April issue of Forum magazine. By 1930, Faulkner had already authored four novels; however, "A Rose for Emily" marked his debut in the short story genre. While not as experimental as his novels The (...) Sound and the Fury and Absalom, Absalom!, it nonetheless incorporates certain characteristic Faulknerian elements, such as an unconventional narrative perspective and a non-linear chronology. Consistent with the majority of Faulkner's oeuvre, this narrative is situated in the fictional Southern setting to which Faulkner gave the name Yoknapatawpha County. -/- [In Dutch: Wiliam Faulkners 'Een roos voor Emily’ (‘A Rose for Emily’) werd voor het eerst gepubliceerd in 1930, in het aprilnummer van het tijdschrift Forum. Faulkner had in 1930 al vier romans op zijn naam staan, maar ‘Een roos voor Emily’ was het eerste korte verhaal dat hij publiceerde. Het is niet zo experimenteel als zijn romans The Sound and the Fury (Het geraas en gebral) en Absalom, Absalom! Desondanks bevat het toch enkele karakteristieke Faulkneriaanse elementen, zoals een ongebruikelijk vertel perspectief en een gefragmenteerde chronologie. Net als het merendeel van Faulkners oeuvre speelt ook dit verhaal zich af in het fictionele Zuiden waar Faulkner de naam Yoknapatawpha County aan gaf."]. (shrink)

This paper explores the postmodern elements in Pons’ film Barcelona (un mapa) (2007). Of interest is the screened portrayal of the tolerant relationship between a Catalan husband and wife and the fluid gender notions adhered to by the former; a man who repeatedly engages in gender performativity within the safety of his own home and who by refraining from doing so in a public external space could be considered sexually inhibited as he may feel hindered to express himself in (...) contemporary Spain, conscious of the social stigma that he may attract were he to embrace his dual identity. The paper additionally analyses the representation of Barcelona as a capital that can be mapped and spatially explored, the scenes depicting Barcelona’s eclectic architecture, and the cinematic photo-effect as a method by which Pons connects the pre-democratic past with the global present on screen. Barcelona (un mapa) is based on Lluïsa Cunillé’s 2004 screenplay Barcelona, mapa d’ombres. Translated into English as Barcelona, Map of Shadows, the shadows from the past linger in a visual narrative mainly steeped in the present. The film’s postmodernity is reflected in its collage-like structure, with a cinematic montage challenging a conventionally chronological time pattern. Specifically, the story-line criss-crosses between past and present through regular flashbacks from times gone by and an opening scene featuring black and white footage of the decisive moment when Franco forces entered Barcelona in 1939. The viewer is then swiftly transported into a colour-tinged present. Such a non-linear narrative structure underscores the postmodernity of the film, as does the episodic plot containing lengthy and highly theatrical dialogues between two characters at a time. Rather than on external action, Pons explores the complex relationships between his protagonists and also between these characters and their increasingly postmodern urban habitat. (shrink)

English summary: Now that it has managed to become a science, history must remain the symposium theatre which allows us to converse with the dead. Our "connected" world delivers us up, defenceless, to the tyranny of every instant. History could be the antidote, inasmuch as it is a depository of people's collective experience. It lifts shadows up from the depth of the ages to make us share what we have learned from being who we are. We have undertaken a (...) boundless dialogue with the living. This book proposes to restore the dialogue with the dead by revisiting, through a succession of brief texts in the form of short essays and short stories, a number of episodes of universal history in an attempt to cull some lessons from it. At a time when history's progress has led to an excessive specialisation which has caused many scholars to withdraw into their ivory towers to enjoy, among experts, the fruit of their research, Michel De Jaeghere wants us to resume meditating on examples that have nourished human thought since ancient times. French description: Ils ont ete pharaons, empereurs romains, rois de France, croises, missionnaires, conquerants, batisseurs de palais et de cathedrales, decouvreurs de mondes nouveaux. Ils ont connu l'ivresse de la gloire, l'amertume de la defaite, ils ont peine dans les travaux. Ils ont incarne l'aventure de l'Occident jusqu'aux extremites de la terre, ils ont du faire face a la barbarie, a la guerre, a la terreur et a la tyrannie totalitaires. De la profondeur de l'Egypte ancienne aux conflits qui ont ouvert le XXIe siecle, ils offrent la plus etonnante des galeries de portraits. Marc Aurele y croise Christophe Colomb, Louis XVI, Honore d'Estienne d'Orves ou Helie de Saint Marc. Ils forment la compagnie des ombres, surgie du passe pour nous offrir un tete a tete. Un dialogue singulier avec les morts.L'histoire est trop souvent traitee comme un cadavre par des medecins legistes si attentifs aux organes qu'ils prelevent sur le corps dont ils font l'autopsie que leur echappe son mystere, ce qui lui donnait sa vie meme. Elle est, ailleurs, consideree comme le divertissement d'un jour, l'occasion d'une promenade sans enjeu. Les textes reunis ici comme en un recueil de nouvelles voudraient s'inscrire dans une autre tradition, celle d'une histoire meditative: une histoire tournee vers la recherche de ce qu'elle a a nous dire d'essentiel, de vital sur nous-meme. Ils se proposent de convoquer les ombres du passe pour nous donner a contempler ce qui n'est pas mort avec elles. Nous doutons aujourd'hui que l'histoire puisse etre maitresse de vie: magistra vitae, disait Ciceron. Nous voulons croire que nous n'avons plus rien a apprendre d'elle. Il nous manque d'avoir les yeux ouverts sur ce qui fait echapper ses protagonistes a leur condition mortelle; ce qui leur donne leur part d'eternite. (shrink)

Postmodernism once more—that breach has begun to yawn! I return to it by way of pluralism, which itself has become the irritable condition of postmodern discourse, consuming many pages of both critical and uncritical inquiry. Why? Why pluralism now? This question recalls another that Kant raised two centuries ago—“Was heist Aufklärung?”—meaning, “Who are we now?” The answer was a signal meditation on historical presence, as Michel Foucault saw.1 But to meditate on that topic today—and this is my central claim—is (...) really to inquire ‘Was heist Postmodernismus?”Pluralism in our time finds itself in the social, aesthetic, and intellectual assumptions of postmodernism—finds its ordeal, its rightness, there. I submit, further, that the critical intentions of diverse American pluralists—M. H. Abrams, Wayne Booth, Kenneth Burke, Matei Calinescu, R. S. Crane, Nelson Goodman, Richard McKeon, Stephen Pepper, not to mention countless other artists and thinkers of our moment—engage that overweening query, “What is postmodernism?,” engage and even answer it tacitly. In short, like a latter-day M. Jourdain, they have been speaking postmodernism all their lives without knowing it.But what is postmodernism? I can propose no rigorous definition of it, any more than I could define modernism itself. For the term has become a current signal of tendencies in theater, dance, music, art, and architecture; in literature and criticism; in philosophy, psychoanalysis, and historiography; in cybernetic technologies and even in the sciences. Indeed, postmodernism has now received the bureaucratic accolade of the National Endowment for the Humanities, in the form of a Summer Seminar for College Teachers; beyond that, it has penetrated the abstractions of “late” Marxist critics who, only a decade ago, dismissed postmodernism as another instance of the dreck, fads, and folderol of a consumer society. Clearly, then, the time has come to theorize the term, if not define it, before it fades from awkward neologism to derelict cliché without ever attaining to the dignity of a cultural concept. 1. “Maybe the most certain of all philosophical problems is the problem of the present time, of what we are, in this very moment,” writes Michel Foucault in “The Subject and Power,” reprinted as “Afterword” in Michel Foucault: Beyond Structuralism and Hermeneutics, ed. Hubert L. Dreyfus and Paul Rabinow : 777-96. Ihab Hassan is Vilas Research Professor of English and Comparative Literature at the University of Wisconsin—Milwaukee. He is the author of, among other books, Radical Innocence , The Dismemberment of Orpheus , Paracriticisms , and The Right Promethean Fire . His latest work, Out of Egypt, is forthcoming in 1986. (shrink)

English summary: The compound terms formed with 'post-' - from Postmodernity through Postdemocracy to Postcrisis as the New Normal - can be seen as a symptom of theoretical helplessness. These compounds are based on a kind of dialectics which they explicitely refuse: The idea of a New Normal postulates a return to normalcy at the end of the series of crises in the early 21th century, but it states simultaneously that the old normalcy has eventually been lost forever. In (...) order to shed light on this question, theoretical effort is needed: This study proposes the concepts of normalism, interdiscourse, and collective symbolism. Taking seriously Michel Foucault's idea of a theoretical tool box, it introduces a new and operational concept of antagonism alternative to the one which originates from dialectics. Antagonism in an operational definition represents a dynamic of irriversible de-normalization (i.e. loss of normality, failure of normalism). Using these analytical instruments, categories such as Postmodernity and New Normal can be explained in a new and satisfying manner. The study hereby takes into consideration positions denying antagonism in Postmodernity (e.g. Francis Fukuyama) as well as theories which claim new kinds of antagonism (e.g. Negri and Hardt, Laclau and Mouffe, or Ranciere).These theoretical developments go together with topical analyses of the series of crises after 2001 and particularly after 2007: from the financial crisis through the Euro crisis to the refugees and populism crises. The analytical approach proposed here is particularly apt for studying the role of topical media as well as political discourses in normalization and denormalization processes. As a result, the study proposes a processual scheme of the series of crises as well as a new definition of populism based on the approach of normalism. Finally, it also considers the problems of alternative 'transnormalistic' ways out of the crisis ('flightlines').Interspersed with the study are short literary essays on novels dealing with current antagonisms: by Albert Camus, Thomas Bernhard, Sibylle Berg, Stephen King, Jean Marie Gustave Le ClEzio, Jonathan Littell, and Michel Houellebecq. German description: Die Krisenserie zu Beginn des 21. Jahrhundert, von der Finanz- und Eurokrise bis zur Fluchtlings- und Populismuskrise, hat die vorgangigen Normalitaten in vielen Dimensionen beeintrachtigt. Das lasst sich als Denormalisierung begreifen und wirft die Frage auf, wie soziokulturelle Normalitaten produziert und reproduziert werden. Darauf antwortet das hier aktualisierte, diskurstheoretische Konzept des Normalismus. Kann die Krisenserie sogar zu einem 'Ende der Normalitat' (Gabor Steingart) fuhren und was wurde das bedeuten? Das ist die Frage nach einer belastbaren Bedeutung des in den USA entstandenen Konzepts eines New Normal: Wenn es das Ende der Krisenserie meinen sollte - was unterscheidet es dann von einem 'Old Normal'? Und wie verhalt sich ein New Normal zum ebenso schillernden Begriff einer Postmoderne? Die Antwort der Studie auf solche Fragen kombiniert die Kategorien des Normalismus und des Antagonismus. Sie schlagt ein gegenuber seiner dialektischen Herkunft neues, diskurstheoretisch fundiertes und operatives (empirisch belastbares) Konzept von Antagonismus als tendenziell irreversible Denormalisierung vor. Mit diesem Instrumentarium wird zunachst die Postmoderne (einschliealich der anderen 'Postismen') als das Konzept einer vorgeblich historischen Epoche ohne Antagonismen gefasst. Anschlieaend werden die Krisenserien unter diesem Aspekt analysiert und ein vorlaufiges Prozessschema der Krisenverlaufe erstellt. Dabei wird auch die Krise der politischen Normalitat (Populismuskrise) transparent. Daraus ergibt sich ein Ausblick auf die Alternative zwischen der Gefahr eines katastrophischen Kollapses des Normalismus auf der einen und transnormalistischen Auswegen auf der anderen Seite. (shrink)

A small, insignificant-looking intellectual with absurdly long legs, Søren Kierkegaard (1813-1855) was a veritable Hans Christian Andersen caricature of a man. A strange combination of witty cosmopolite and melancholy introvert, he spent years writing under a series of fantastical pseudonyms, lavishing all the splendor of his magnificent mind on a seldom-appreciative world. He had a tragic love affair with a young girl, was dominated by an unforgettable Old Testament father, fought a sensational literary duel with a popular satiric magazine, and (...) died in the midst of a violent quarrel with the state church for which he had once studied theology. Yet this iconoclast produced a number of brilliant books that have profoundly influenced modern thought. In this classic biography, the celebrated Kierkegaard translator Walter Lowrie presents a charming and warmly appreciative introduction to the life and work of the great Danish writer. Lowrie tells the story of Kierkegaard's emotionally turbulent life with a keen sense of drama and an acute understanding of how his life shaped his thought. The result is a wonderfully informative and entertaining portrait of one of the most important thinkers of the past two centuries. This edition also includes Lowrie's wry essay "How Kierkegaard Got into English," which tells the improbable story of how Lowrie became one of Kierkegaard's principal English translators despite not learning Danish until he was in his 60s, as well as a new introduction by Kierkegaard scholar Alastair Hannay. (shrink)

Isaac Bashevis Singer’s short story “Yentl the Yeshiva Boy”.) needs to be read in the light of traditional Jewish sources. The question is, how does it stand up to modern hypotheses of gender construction? Yentl was originally published in Yiddish and was translated to English in the latter half of the twentieth century. We will see that the context within which to understand the story properly is encoded in the story itself, as Umberto Eco explains (...) in his The Role of the Reader and The Limits of Interpretation. We will see how the concept of a person’s gender, as a construction by social norms, is viewed within mainstream Jewish thought. Some textual issues and contemporary ideas of gender are applied to the story. Finally, the feature film Yentl. 1983. Yentl [film]. Los Angeles: United Artists Films.) is also compared the short story on which it was based as an example of translation and re-interpretation. (shrink)

Angela Carter spent a few years in Japan, from 1969 to 1972, and though the experience apparently impacted on her creative imagination so much as to transform her writing style drastically thereafter, the details of her life in Japan have not previously been revealed. With original information drawn from interviews with Carter’s former Japanese boyfriend, combined with the examination of her unpublished journal entries, this paper attempts to bring to light the scale of the impact that Japanese society, culture, literature, (...) and her romantic and devastating encounter had on her literary career. Short stories compiled in Fireworks as well as the novel The Infernal Desire Machines of Doctor Hoffman seem to be inspired by her own emotionally draining relationship with this Japanese boyfriend, whom she calls “my friend S” in her essays. Her journal entries further suggest that Carter experienced her relationship with him as what she names “a philosophic assassination,” a loss of subjectivity in the mirror of the other, although she also confesses that she loves him “desperately.” The paper tries to suggest how Carter may have become better equipped as a postmodern feminist writer in her literary project of subverting masculine discourses, empowered by these personal ordeals she had in Japan. (shrink)

Though ordinary aesthetics is self-evident as a principle, fruitful as a method, it remains partly undefined. It seems the major difficulty is to mark out its territory, so much so as, after Wittgenstein, it endorses the most part of what used to pertain to ethics. Our hypothesis is that starting from art forms may prove helpful in defining ordinary aesthetics; and the article suggests that short-story writing is a paradigmatic pathway to ordinary aesthetics as it is to the (...) ethical unsaid. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.2 (2004) 393-405 [Access article in PDF] Decency and Its Discontents Richard Freadman La Trobe University In The Beginning of the Journey, Diana Trilling makes this rather shocking claim about her husband, Lionel: "In the dark recesses of his heart where unhappiness was so often his companion, he was contemptuous of everything in his life that was dedicated to seriousness and responsibility."1 Lionel had been dead (...) almost 20 years when a near blind Diana dictated this comment in her controversial auto/biography in the early 1990s. Of course he was revered for—among other things—precisely his qualities of intellectual "seriousness and responsibility." But Diana argued that Lionel had in effect settled for such sober virtues because for temperamental and other reasons he could not live the life he really craved—the life of a swashbuckling novelist, with all its recklessness, its refusal of compromise, even its moral waywardness. When Hemingway died Lionel wrote in his notebook: "who would suppose how much he haunted me? How much he existed in my mind—as a reproach? He was the only writer of our time I envied" (Beginning, p. 371). Lionel's critical discussions of Hemingway's fiction are judicious and qualified.2 He admired the uncompromising short story writer who was "passionately and aggressively concerned with truth" (SLS, p. 127), but found the work of the self-conscious "legend" (p. 125), writing in the first-person, ponderous and disappointing. It was not the prose that Lionel so wanted to emulate. It was the life; in particular, its power to release and nurture creativity. Diana continues: "It was to decency that Lionel felt he had sacrificed his hope of being a writer of fiction—conscience had not made a coward of him, it had made him a critic" (Beginning, p. 372). [End Page 393]Decency—how often we use the word. How seldom we ask what we mean by it. Usually it functions as a sort of guarantor term, like the caged canary in the coal mine. If the canary lives, the miners are judged to have fair air to breathe; if a person possesses certain qualities, or a society provides certain requisite conditions, we say the person is "decent," or that this is a "decent society." Yet remarkably few virtue ethicists have countenanced the possibility that decency might be counted among the virtues; that it might be the subject of substantive intellectual reflection; that we might investigate its relation to other virtues, its internal structure, its characteristic patterns and possibilities of existential investment. As John Kekes, one of the very few philosophers to have paid the notion serious philosophical attention, says: "Decency is generally admitted to be a good thing, but is not generally supposed to be particularly important."3In this short essay I attempt two linked undertakings: first, to offer a characterization of Decency—the term henceforth accorded a capital "D" to indicate its status as a moral virtue; second, to read aspects of Lionel Trilling's life and work, and Diana's late assessment of him, in the light of Decency, as I understand the term. I "Decent" seems to refer to a "state," a sort of moral condition a person is "in," and to a resultant orientation towards others. The "state" is one of modesty, even humility. The ego doesn't loom large or get in the way. The orientation is one of solicitude towards others. Decent people of this kind genuinely care about, feel for others. Unless they are given good reason to behave otherwise, their disposition towards others tends to be respectful; they bring to most situations an assumption that the other person is worthy, deserves to be taken seriously. Decency of this kind tends to be associated with receptiveness, relatedness, a patient openness to others, though it need not be passive.The word "decent" derives from the Latin, deceré—to become, to be fitting. It's been used in English since about the 1530s. From that period to the early twentieth century "decent" has generally indicated that something is fitting, appropriate, with respect to social rank... (shrink)

The study deals with one of the most important episodes of the history of the twentieth century - the beginning of the Cold War. The focus is on the peculiarities of the formation of the image of the external enemy for the USSR on the pages of periodical media, namely, the political cartoon magazine "Perets". It is revealed that the main ideological adversaries of the Soviet apparatus of propaganda were the United States and Great Britain, the countries that formed the (...) basis of the anti-Hitler coalition. Due to the analysis of materials of the publication - political cartoons, short stories, satirical poems - the characteristic features of the image of these two states are revealed. It is proved that the images of the opposing countries were filed by the magazine "Perets'" in the form of three categories. The first block is the image of the American and English leaders, which began to appear massively in the journal in connection with the Fulton speech of Churchill and the implementation of the "Marshall Plan". The emphasis is placed on political cartoonists' tendency to compare the leaders of the United States and Great Britain with the leaders of Nazi Germany. The second unit features personalized images of the United States and the Britain. A characteristic feature of this group is the demonstration of the domination of American symbols over the British, which was to show the Soviet reader an American-dependent position of the United Kingdom and other Western European countries. The last block of images combines works that demonstrate the relations between "capitalist" countries. In order to create the desired effect on the reader, the Soviet propaganda machine emphasized the emergence of territorial or economic disputes between the United States and Britain, presenting this as a stage of aggravation of relations between "imperialist countries." All of these features in the images of external enemies were aimed at elevating patriotic sentiment among the Soviet society and confidence in the actions of the ruling Communist Party. (shrink)

Whatever we choose to call Beckett’s series of disjunctive and repetitive paragraphs , Ill Seen Ill Said surely has little in common with the short story or the novella. Yet this is how the editors of the New Yorker, where Beckett’s piece first appeared in English in 1981, evidently thought of it, for like all New Yorker short stories, it is punctuated by cartoons and, what is even more ironic, by a “real” poem, Harold Brodkey’s “Sea (...) Noise” . Notice that the reader immediately knows—or is supposed to know—that Brodkey is a poet and Beckett a fiction writer, not only because “Sea Noise” is designated a poem in the issue’s table of contents, but also because its placement on the page, framed by white space, distinguishes it from Ill Seen Ill Said, which is printed in standard New Yorker columns. Yet if we examine the sound structure of Brodkey’s poem, we find that the rhythm of recurrence is, if anything, less prominent here than in the Beckett “prose.” The four stanzas are of irregular line length ; the stress count ranges from one to five ; rhyme occurs only once, at the end of the poem ; and alliteration and assonance are not marked. Unless we assume that poetry is defined by the sheer decision of its maker to lineate the text, or unless we want to call “Sea Noise” a poem because it is built around a single extended metaphor , there is no rationale for the classification the New Yorker has implicitly adopted.4The meaning of this classification is worth pondering, for it represents, in microcosm, the orthodoxy of every major literature textbook and literary history as well as of most classrooms in the United States and Britain, which that Beckett is a writer who, like the young Joyce or the young Faulkner, wrote in his dim youth some negligible, clotted lyric poems but whose real work belongs to drama and fiction. As such, we don’t teach Beckett in our poetry courses or include him in discussions of contemporary poetry and poetics. The index of any major book on the subject—say, Robert Pinsky’s The Situation of Poetry—will bear this out. And yet the irony is that contemporary poets are increasingly using forms that cannot be properly understood without the example of Beckett’s astonishing “lyrics of fiction”—to use Ryby Cohn’s apt term5—or, as I shall call them, his “associative monologues.” Perhaps, then, it is time to rethink our current procedures of canon making. In what follows, I shall use Ill Seen Ill Said as an example.4. Contemporary prosodists, perhaps because they must account for the difficult case of free verse, generally do equate verse—and hence implicitly the poem—with lineation. For example, Charles O. Hartman, in his recent Free Verse: An Essay in Prosody , observes that, difficult as it is to define the word “poetry” “rigorously and permanently,” verse can be distinguished from prose quite readily:Verse is language in lines. This distinguishes it from prose…. This is not really a satisfying distinction, as it stands, but it is the only one that works absolutely. The fact that we can tell verse from prose on sight, with very few errors…indicates that the basic perceptual difference must be very simple. Only lineation fits the requirements. [P.11]But, as I have just shown in the case of Beckett and Brodkey, what looks like verse may sound like prose and vice versa. The “basic perceptual difference” between the two is surely not as simple as Hartman suggests. I discuss this question from a somewhat different angle in “The Linear Fallacy,” Georgia Review 35 : 855-69.5. See Ruby Cohn, Back to Beckett , chap. 5, “Lyrics of Fiction.”. (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)

The smallest ambition of this essay is to demonstrate that Rider, the central character in William Faulkner’s short story “Pantaloon in Black,” cannot be understood. This may be of some interest to Faulkner specialists. But the fact that he cannot be understood has ramifications, because “Pantaloon in Black,” seems to be the anomaly of the book Go Down, Moses, which is either a collection of stories or a novel, depending on the success one has in integrating “Pantaloon in (...) Black” into it. If Rider cannot be understood, then Go Down, Moses has an enigma at the center of its mysteries, around which it cannot be made to cohere.More important to nonspecialists is the question of why Rider cannot be understood, and, consequently, why Go Down, Moses disintegrates. To answer this I want to perform the logical operation modus tollens on Stanley Fish’s idea that interpretations are produced by interpretive communities: if interpretations fail, then it must be because interpretive communities fail. Of course, Fish everywhere argues that interpretations must always, on the contrary, succeed; the lesson of Is There a Text in This Class? is that interpretive communities produce texts inexorably and inevitably in their own image. But Fish’s idea of an interpretive community is something like the Modern Language Association, or the set of all English professors, or the Yale school—bigger or smaller machines perfectly programmed for producing texts out of theoretical presuppositions. What is, however, even English professors are members of communities that fit the definition of an interpretive community, by virtue of the fact that they speak through our readings, but which are not chiefly engaged in the manufacture of masterful criticism? Worse: what if these communities speak a different language from those to which we professionally belong? Worse yet: what is they are disintegrating even as the MLA, or the Yale school, endures, or prevails?The point is not that Fish is wrong; it is that he has oversimplified his sense of a text by reducing it to the instrument of communication used by professor speaking to other professors. But in “Pantaloon in Black,” Faulkner has formed a text in the image of a Southern Negro and invited us to join an interpretive community on the model of Yoknapatawpha County. Insofar as we take up that invitation, we fail to understand his story; insofar as we reject it, we also fail to understand his story. The paradox is the result of our being forced to join a community which does not cohere; to the degree that that community fails to cohere, so does our reading. What Faulkner says to Fish is that the American belief in the power of interpretive communities is akin to an idealist’s dream of an integrated South. John Limon is assistant professor of English at Williams College. He is currently working on a book, Half-Sight of Science, on the history of the American novel in relation to the history of science and science philosophy. (shrink)

This monograph represents the first comprehensive study dedicated to the interdisciplinary French philosopher Michel Serres. As the title of this project unequivocally suggests, Serres s prolific body of work paints a rending portrait of what it means for a sentient being to live in the modern world. This book reflects Serres s profound conviction that philosopher c est anticiper / to philosophize (about something) is to anticipate ( Philosophie Magazine ). According to Serres, a philosopher is someone who possesses an (...) extremely broad base of knowledge coupled with the uncanny ability to envision what "might" transpire based upon his or her astute observations concerning phenomena that are already starting to unfold in a given society. Serres s explanation of what engaging in philosophical inquiry entails encourages us to imagine all of the present and future ramifications of certain trajectories that are clearly visible all around us. From 1968 to the present, Serres has been generating forceful, prophetic visions in his works that mingle philosophy, religion, theology, contemporary science, and literature. Comprehensive and insightful introduction both illuminates pressing contemporary issues and presages potential futures-to-come. This is a remarkable achievement and a genuine gift to readers both new and old to Serres s work. -Steven D. Brown, Professor of Psychology, University of Leicester An essential book for becoming aware of the threat of a return of obscurantism despite the development of new technologies and of the necessity of a new century of "Lumieres." -Issa Asgarally, Associate Professor, Mauritius Institute of Education, founder, Foundation for Interculturality and Peace Moser s engaging prose makes this study a great read, and he demonstrates a formidable grasp on the connections within Serres work, as well as the links between Serres and other major twentieth century thinkers. -Tom Trzyna, Professor Emeritus of English, Seattle Pacific University Both timely and thorough. His provocative critique of societal malaise, from our relationship to the planet, to ourselves, to each other, and to technology, as well as the solutions envisioned through an erudite and thoughtful analysis of Serres entire philosophical corpus is a remarkable contribution to Philosophy and French Studies. -Isaac Joslin, University of Denver Keith Moser s pioneering vision of the post-Marxist era, as reflected in the syncretism of philosophy, religion, theology, science and literature in Michel Serres body of work during the last half a century, transforms human consciousness beyond its illusory genophobia that has damaged the very semiotics of life. Moser s monograph taps into a tremendous flow of energy that evokes a passionate desire in a dead humanity to re-live and re-think. -Professor Ananta Sukla, Editor, Journal of Comparative Literature and Aesthetics Keith Moser is Associate Professor of French at Mississippi State University. He is the author of "A Practical Guide to French Harki Literature, J.M.G. Le Clezio: A Concerned Citizen of the Global Village, Le Clezio dans la foret des paradoxes" (co-editor), and "Privileged Moments in the Novels and Short Stories of Le Clezio: His Contemporary Development of a Traditional French Literary Device." Moser has also contributed approximately forty essays to peer-reviewed publications such as "The French Review, The International Journal of Francophone Studies, Romance Notes, Dalhousie French Studies, Les Cahiers Le Clezio, Modern Language Review, French Cultural Studies, Forum for Modern Language Studies" (Oxford), "Interdisciplinary Studies in Literature and Environment" (Oxford), and "Pennsylvania Literary Journal."". (shrink)

The paper contains a short story which is inconsistent, essentially so, but perfectly intelligible. The existence of such a story is used to establish various views about truth in fiction and impossible worlds.

Source: Author: Olga Posudiyevska This study concentrates on the analysis of early works by Rudyard Kipling who was born into the family of English colonists to India, thus becoming a representative of the newly formed Anglo-Indian society. The writer’s sketch Anglo-Indian Society and his collection of short stories Plain Tales from the Hills depict the characteristic features of Anglo-Indians’ worldview and lifestyle, which are revealed and analyzed by the author of the article. Special attention is paid to biographical (...) factors influencing the author’s choice of Anglo-Indian topic at the beginning of his writing career. The researcher concludes that Kipling presents in his works an outline of Anglo-Indian society which emerged from the writer’s observations of Anglo-Indians’ lives during his work as a reporter. Striving for credibility in consideration of advantages and shortcomings of Anglo-Indian worldview and lifestyle, the author tries to occupy the position of the unconcerned observer, being capable of assessing the situation with fresh mind. Kipling disguises himself under the image of the hero-narrator, being either a tourist traveler from abroad, or a reporter, accustomed to collecting factual material for the local paper, in such a way receiving an opportunity to speak ironically and sometimes even sarcastically about certain models of behavior, accepted by Anglo-Indians. ]]>. (shrink)

Most studies on bilingual language development focus on children’s second language (L2). Here, we investigated first language (L1) development of Polish-English early migrant bilinguals in four domains: vocabulary, grammar, phonological processing and discourse. We first compared Polish language skills between bilinguals and their Polish non-migrant monolingual peers, and then investigated the influence of the cumulative exposure to L1 and L2 on bilinguals’ performance. We then examined whether high exposure to L1 could possibly minimize the gap between monolinguals and bilinguals. (...) We analyzed data from 233 typically developing children (88 bilingual, 145 monolingual) aged 4;0 to 7;5 (years; months) on six language measures in Polish: receptive vocabulary, productive vocabulary, receptive grammar, productive grammar (sentence repetition), phonological processing (non-word repetition) and discourse abilities (narration). Information about language exposure was obtained via parental questionnaires. For each language task, we analyzed the data from the subsample of bilinguals who had completed all the tasks in question and from monolinguals matched one-on-one to the bilingual group on age, SES (measured by years of mother’s education), gender, non-verbal IQ and short term memory. The bilingual children scored lower than monolinguals in all language domains, except discourse. The group differences were more pronounced on the productive tasks (vocabulary, grammar, phonological processing) and moderate on the receptive tasks (vocabulary and grammar). L1 exposure correlated positively with the vocabulary size and phonological processing. Grammar scores were not related to the levels of L1 exposure, but were predicted by general cognitive abilities. L2 exposure negatively influenced productive grammar in L1, suggesting possible L2 transfer effects on L1 grammatical performance. Children’s narrative skills benefitted from exposure to two languages: both L1 and L2 exposure influenced story structure scores in L1. Importantly, we did not find any evidence (in any of the tasks in which the gap was present) that the performance gap between monolinguals and bilinguals could be fully closed with high amounts of L1 input. (shrink)

This volume constitutes the largest collection of writings by the Italian philosopher Giorgio Agamben hitherto published in any language. With one exception, the fifteen essays, which reflect the wide range of the author’s interests, appear in English for the first time. The essays consider figures in the history of philosophy and twentieth-century thought. They also examine several general topics that have always been of central concern to Agamben: the relation of linguistic and metaphysical categories; messianism in Islamic, Jewish, and (...) Christian theology; and the state and future of contemporary politics. Despite the diversity of the texts collected here, they show a consistent concern for a set of overriding philosophical themes concerning language, history, and potentiality. In the first part of the book, Agamben brings philosophical texts of Plato and Benjamin, the literary criticism of Max Kommerell, and the linguistic studies of J.-C. Milner to bear upon a question that exposes each discipline to a limit at which the possibility of language itself is at stake. The essays in the second part concern a body of texts that deal with the structure of history and historical reflection, including the idea of the end of history in Jewish and Christian messianism, as well as in Hegel, Benjamin, and Aby Warburg. In the third part, the issues confronted in the first and second parts are shown to be best grasped as issues of potentiality. Agamben argues that language and history are structures of potentiality and can be most fully understood on the basis of the Aristotelian theory of _dynamis_ and its medieval elaborations. The fourth part is an extensive essay on Herman Melville’s short story “Bartleby, the Scrivener.”. (shrink)

In 1977 a German literary scholar, Astrid Lange-Kirchheim, published an article announcing an astonishing discovery: credible evidence exists to suggest that Kafka's famous disturbing short story, `In the Penal Colony', published in 1919 but first written in 1914, echoes and reworks, in several of its key images and turns of phrase, elements of an essay published in 1910 in the German literary magazine, Die neue Rundschau, bearing the title `Der Beamte' (`The Civil Servant', or `The Official' or `The (...) Functionary') by Alfred Weber, younger brother of Max Weber. Most Kafka scholars today accept Lange-Kirchheim's findings and recognize the importance of `Der Beamte' as at least one crucial reference point for Kafka's writing. Yet little wider awareness of the connection seems to exist among historians of sociology and other scholars of the history of the human sciences. This article comprises a summary of Lange-Kirchheim's analysis together with a complete annotated translation of `Der Beamte' by Alfred Weber in English. (shrink)

Futabatei Shimei (1864-1909) was an early modern Japanese novelist, translator, and critic. He wrote what is now generally conceived of as the first Japanese ‘modern’ novel, Drifting Clouds (1887-89). He translated works by Turgenev, Leo Tolstoy, Garshin, Gorky, and others. He also published a number of critical essays, treatises on literary theory, political papers, and so forth. His early translation of Turgenev’s short stories: Aibiki (Rendevous, 1888) and Meguriai (Three Trysts, 1889) were extremely influential on the contemporary literati, who (...) were amazed at the fresh, poetic prose used in stark contrast to the traditional Japanese fiction in the pre-Reformation period. These translations, seen in the light of the present-day readers, were unique in what we might term today ‘foreignizing translation’. Lawrence Venuti in Invisibility of the Translator argues that the ideal of (English) translation has been to conceal itself as a translation, i.e. to present itself as an original text (chap I and passim). In that sense, Futabatei’s translations, scandalously presenting itself as a translation, that is to say, as an alien text, is extremely ‘foreignizing’. (shrink)

The article examines the role and place of the Mystery within the structure of Mamleev’s metaphysics. The author of the article implicates the concept of “chaosmos’’, introduced by James Joyce in the experimental novel “Finnegans Wake”, to the Mamleev’s Universe. This leads to the transformation of the formula “chaos – osmosis – cosmos”, actualized by postmodern discourse, into the formula “Chaos – Osmosis – Cosmos”. Chaos here is Sacred Chaos, being one of the metaphysical manifestations of Eternal Russia. Osmosis (...) appears to be an antinomic Russian life, which combines the incompatible, and sets itself fundamentally impossible tasks. The Сosmos brings us to the tradition of Russian cosmism with its problem of microcosm and macrocosm conformity. The author of the article points out that the all-pervading and unifying element of Mamleev’s chaos is the Mystery. It is one of the five key metathemes of Mamleev’s oeuvre. The particularity of the Mystery is that it provides a link between other metathemes: utrism “I”, Death, the Abyss and Russia. In the plane of utrism “I” the Mystery is seen as the mystery of man. The Mystery is related to Death by the person’s interest of his own destiny and finiteness. The problem of overcoming death and the passion for eternal life are the central themes that concern almost all the heroes of Mamleev’s novels and short stories. For Mamleev they are the source of values aimed at the human need to achieve a higher “I”. The connection between the Mystery and the Abyss, as well as the connection between the Mystery and Russia are the strongest and the most important for Mamleev. Consideration of these connections prompts the author to conclude that Yuri Mamleev describes such dimensions of the Mystery, which go beyond the categories “unfathomable-to-us” and “unfathomable-in-itself”, introduced by S. Frank. This requires the introduction of new concepts that would bring out the essence of Mamleev’s innovations. The author of the article proposes to consider the Abyss as a “Last Mystery” by the fact it is transcendent to the transcendents themselves, that is it goes beyond the Absolute, as well as to consider Eternal Russia as a Russia-Mystery on the grounds that Mamleev gives it the status of the third metaphysical Beginning, along with the Absolute and the Abyss. (shrink)

From the 1890s on, the atheist philosopher F. Nietzsche exerted a profound and enduring impact on Russian religious, cultural, and social reality. The religious philosopher V.S. Solov'ëv perceived Nietzsche's thought as an actual threat to Russian religious consciousness and his own anthropological ideal of Divine Humanity. He was especially preoccupied with the idea of the Übermensch since sometwo decades before the Nietzschean Übermensch was popularized in Russia, Solov'ëv had already developed his own interpretation of the sverkhchelovek.

In lieu of an abstract, here is a brief excerpt of the content:Dracula and Carmilla:Monsters and the MindBenson Saler and Charles A. ZieglerFollowing the publication of Bram Stoker's Dracula in 1897, vampire narratives proliferated in Britain and the United States.1 While many twentieth century short stories, novels, plays, and films in both countries depart from Dracula in various ways, it is our impression that that workand its close derivatives retain pride of place in the popular imagination. Yet Dracula was (...) but one of several well-known vampire stories published in English during the nineteenth century, and scholars deem certain of the other tales to be of literary merit.In noting that, we raise this question: What is it about the plot and the characterization of vampires in Dracula that make it the most famous example of vampires in English fiction? Why, in particular, has it been more influential than Le Fanu's Carmilla which preceded it in time and is of equal or perhaps greater literary distinction?2 We address that question, and by doing so we hope to gain some insight into the attraction and persistence of vampire tales across time and cultures.We begin by sketching our approach to conceptualizing the category "vampire." Nina Auerbach, a Professor of English at the University of Pennsylvania, writes that "There is no such creature as 'The Vampire'; there are only vampires."3 That declaration is in keeping with her demonstration that in nineteenth and twentieth century British and American vampire novels, short stories, plays, and films, vampires vary greatly in behavior, in apparent motivation, and in cultural significance. Different social orders and different culturally supported sensibilities [End Page 218] and sensitivities, she persuasively argues, find expression in different sorts of vampires.We deem Auerbach's literary nominalism preferable to an essentialism that would govern vampiric class inclusion by insisting on some conjunction of necessary features or conditions. At the same time, however, we think that there is a better way of allowing for differences in conceptualizing vampires and in understanding their multi-faceted significance in British and American imaginings of the last two centuries. That way combines the recognition of family resemblances with insights derived from prototype theory in the cognitive sciences.A family resemblance approach can be quite liberal in what it includes as instantiations of the category "vampire." It can encompass not only such familiar (albeit different) figures as Ruthven, Varney, Carmilla, Dracula, and Lestat, but also others, including so-called "psychic vampires," who flourish not by sucking blood but by draining vitality, will, and even experience from their victims. Some may ask, does this not create a category that is so promiscuous in what it includes as to render the category analytically useless? No, we reply, once you couple family resemblance with insights from prototype theory.Prototype theory, narrowly described, attempts to account for "prototype effects." These "effects" are differences in the judgments that people render about how well different instances of a category exemplify the category. Thus, for instance, some people may judge apples and oranges to be clearer or better exemplars of the category "fruit" than olives. Similarly, some may judge robins and sparrows to be clearer or better exemplars of the category "bird" than penguins. Judgments can be explicitly given, or they can be inferred from the order of examples that people give or from their responses to lists of examples furnished by others. Prototype theorists call the adjudged clearest or "best" examples of categories "prototypes" or "the most prototypical exemplars."4 This approach celebrates centrality and periphery rather than essence and boundary in conceptualizing categories.5 It allows that some instantiations of a category may be deemed more central to the category than others. Thus in the case of vampires, Dracula is more central to the category than, say, the shape-shifting space alien who extracts salt from victims in an episode of Star Trek, First Generation. Auerbach recognizes that centrality when she refers to "Dracula's dominance in our century" (p. 111). We contend, moreover, that while Sheridan Le Fanu's vampire Carmilla is more prototypical—that is, an adjudged better exemplar of the category—than vampiric space aliens [End Page 219] and legions of psychic vampires, she is less... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Borges on Language and TranslationJon StewartAlthough Jorge Luis Borges had years of philosophical training and expressed a number of philosophical theories in his literary works, he never published a philosophy treatise. The result is that his oeuvre has often been viewed as purely literary and been largely neglected by trained philosophers. However, by ignoring the philosophical aspects of Borges’s thought, criticism has neglected a vast dimension of his work (...) and has thus frequently misunderstood and misinterpreted many aspects of it. As I have tried to demonstrate in an earlier article, 1 there are important philosophical themes in the short stories of Borges, which have yet to be considered. In the present essay, I take up one of these heretofore neglected themes.We can find perhaps no better example of the literary exposition of Borges’s philosophical ideas than in his short story or cuento, “Averroes’ Search.” 2 There Borges reconstructs for us a culture and an age radically different and temporally distant from our own. He recounts the story of Averroes, the Arab philosopher living in Spain in the second half of the twelfth century. The history of philosophy knows Averroes as one of the great medieval commentators on the works of Aristotle. Borges recreates the historical moment and the passion of Averroes in his task of translating and providing a commentary for the texts of the great Greek philosopher who remains forever distant from him. The story takes as its point of departure Renan’s observation about a curious misinterpretation of Aristotle found in Averroes: “S’imaginant que la tragédie n’est autre chose que l’art de louer...”(p. 180). Borges poses [End Page 320] the question of why Averroes, who had dedicated his life to understanding the work of Aristotle, had so badly misunderstood the concept of tragedy treated by the Greek philosopher. To answer this question, Borges brilliantly employs the faculty of historical imagination in order to think himself back into Averroes’s particular time period and cultural context. The short story presents us with a thesis about the intimate connection between culture and language and the ultimate futility of translation and crosscultural knowledge and comprehension. In the present essay, I wish to argue that the point of Borges’s story about the fate of Averroes is (1) to refute the common view which sees language as an entity neutral with respect to culture and history, and (2) to bring to light the comprehensive nature and scope of particular culturally and historically determined ways of thinking and perceiving the world. These philosophical elements have been neglected by the various literary scholars who have treated the works of Borges. 3 Moreover, Borges anticipates many of the most celebrated epistemological and hermeneutical theories of our day from philosophers such as Gadamer, Davidson and Quine, and presents them in literary form.IThere is a common view according to which the manifold languages of the various peoples and cultures of the world are more or less interchangeable. According to this linguistics of common sense, language is something secondary and accidental which is only an inessential corollary to our basic understanding and perception of the world. Human perception and cognition are thought of as constants for all humans everywhere. A dog will be perceived as a dog regardless of time period, place or culture, and the words we create to represent “dog” in the medium of language are secondary and even arbitrary. As a result, individual words in one language correspond to individual words in another. Dog in English corresponds straightforwardly to Hund in German or perro in Spanish, and nothing could be more simple. The gifted translator is merely someone with a great capacity to memorize words and to effect rapid replacement changes, and translation is regarded as a more or less mechanical process with little room for creativity. The diversity of languages is neither epistemologically necessary nor important, but rather explained as an historical accident as in the etiological tale of the Tower of Babel. Language has no necessary connection to the time period in which it is spoken or to the culture of [End Page 321] the people who speak it. That we... (shrink)

In this paper, I explore the connection between certain metaphysical views of time and emotional attitudes concerning one’s own death and mortality. I argue that one metaphysical view of time, B-theory, offers consolation to mortals in the face of death relative to commonsense and another metaphysical view of time, A-theory. Consolation comes from three places. First, B-theory implies that time does not really pass, and as a result one has less reason to worry about one’s time growing short. Second, (...) B-theory entails that there is a real sense in which one’s death does not result in one’s annihilation, and this fact can temper feelings of existential distress. Third, B-theory has the consequence that the benefits one has lost have concrete existence, and this fact can mitigate the emotional significance of the losses of death. (shrink)

The experienced qualities of memories of factual and fictional events have been little researched previously. The few studies that exist find no or few differences. However, one reason to expect differences in memory qualities is that processing of fact and fiction seem to involve activation of different brain areas. The present study expands earlier research by including a wider range of memory qualities, using positive and negative events, and three time-points: immediately after, after a ten-minute delay and after a five-week (...) delay. Participants (N = 52) read four short stories in English, labelled either fact or fiction, and rated memory qualities on 7-point scales. Results show no differences; however, an interaction was found between fictionality and story emotional valence, in that memories of negative fictional stories are rated as more clear. The higher clarity can be explained by previous findings that negative events from stories are in general remembered in more detail, in combination with the idea that fiction entails simulation to a higher degree than fact. The conclusion is that although a difference in memory qualities between fact and fiction was found in one case, memory qualities seem not to play an operative role when the memory system distinguishes fact from fiction. (shrink)

Beyond the defiance of the young iconoclast—Wilde himself, of course—and the rather perfunctory curve of Dorian Gray to that gothic final sight , there is another, possibly less strident, but more central theme. That one is damned for selling one's soul to the devil is a commonplace in legends; what arrests our attention more, perhaps, is Wilde's claim or boast or worry or warning that one might indeed be poisoned by a book . . . and that the artist, even (...) the presumably "good" Basil Hallward, is the diabolical agent. Wilde's novel must be seen as a highly serious meditation upon the moral role of the artist—an interior challenge, in fact, to the insouciance of the famous pronouncements that would assure us that there is no such thing as a moral or an immoral book or that all art is "quite useless." Wilde's genius was disfigured by his talent: he always sounds much more flippant, far more superficial, than he really is. So one always say about Dorian Gray, with an air of surprise, that the novel is exceptionally good after all—and anyone who has read it recently replies, with the same air of faint incredulity, yes, it is exceptionally good—in fact, one of the strongest and most haunting of English novels. Yet its reputation remains questionable. Gerald Weales virtually dismisses it as "terribly fin de siècle " in a rather flippant introduction to the novel, and it would be difficult to find a critic who would choose to discuss it in terms other than the familiar ones of decadence, art for art's sake, art as "the telling of beautiful untrue things." Joyce Carol Oates has written, among others, Bellefleur, Childhood, a collection of short stories, Nightside, and Son of the Morning. Her contributions to Critical Inquiry, include "Jocoserious Joyce" and "Lawrence's Gotterdammerung". (shrink)

The paper scrutinizes the literary output of George Moore with reference to the expectations of the new generation of Irish writers emerging at the beginning of the twentieth century. Although George Moore is considered to belong to the Anglo-Irish ascendancy writers, he began his writing career from dissociating himself from the literary achievements of his own social class. His infatuation with the ideals of the Gaelic League not only brought him back to Dublin, but also encouraged him to write (...) class='Hi'>short stories analogous to famous Ivan Turgenev’s The Sportsman’s Sketches. The idea of using a Russian writer as a role model went along with the Gaelic League advocating the reading of non-English European literature in search for inspiration. However the poet’s involvement in the public cause did not last long. His critical view on Ireland together with his uncompromising approach towards literature resulted in a final disillusionment with the movement. The paper focuses on this particular period of Moore’s life in order to show how this seemingly unfruitful cooperation became essential for the development of Irish literature in the twentieth century. The Untilled Field, though not translated into Irish, still marks the beginning of a new genre into Irish literature—a short story. More importantly, the collection served as a source of inspiration for Joyce’s Dubliners. These and other aspects of Moore’s literary life are supposed to draw attention to the complexity of the writer’s literary output and his underplayed role in the construction of the literary Irish identity. (shrink)

The purpose of the current study was to investigate the effect of two types of repeated reading on incidental vocabulary learning of Iranian English as a Foreign Language learners. In so doing, a sample of 45 intermediate EFL students from two intact classes of a language institute were selected as the participants. The two classes were randomly assigned to an unassisted group who were required to just read and an assisted group who were asked to read and listen to (...) 24 short texts several times. The assisted group employed their smartphones to listen to the audio files of the short stories. The data were gathered via a researcher-made vocabulary test and vocabulary learning self-efficacy scale. The results of ANCOVA revealed that although both types of repeated reading contributed to enhancing vocabulary learning of the participants, assisted repeated reading led to significantly greater EFL vocabulary gains. Additionally, the findings revealed that both assisted and unassisted repeated reading improved vocabulary learning self-efficacy of the participants and there was not a significant difference between the two types of interventions. The findings of the present study have implications for EFL researchers and practitioners. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Discover the Unknown Chekhov in Your ESL ClassroomNinah Beliavsky (bio)I was born in Moscow, ate aladushki, and listened to my mother read Chekhov in Russian. Kashtanka, a tale about a young, ginger-colored pup who gets lost, made me cry. And when I read about the death of Ivan Dmitrich Kreepikov, in The Death of a Civil Servant, I did not know whether to laugh or to cry. The poor (...) civil servant was sitting and watching an opera in a theater when all of a sudden he sneezed and spattered an old gentlemen, General Shpitzalov, in front of him. Now, as Chekhov writes, sneezing is not prohibited to any one or in any place; peasants sneeze, and even the chiefs of police sneeze. But, you see, the poor civil servant, being very much rank-conscious, could no longer live with himself after committing such a misconduct. He apologized profusely and went home, and without taking off his uniform, he lay down on the sofa, and... died.And what about Van'ka Zhukov, an orphan boy of nine apprenticed to a shoemaker who is being beaten and overworked. He writes a letter to his grandfather on Christmas Eve, begging him for the dear Lord's sake to take him away from his misery. After scratching his head and thinking for a moment, he dips his pen in ink and addresses his envelope: "The Village. To Grand Dad." He then dashes out into the street and pushes his precious letter through the opening of the postbox...The second part of my childhood I spent in Jerusalem; there I ate falafel with humus, was obsessed with perfecting the pronunciation of the Hebrew guttural "r," and read Miriam Yalan Shtekelis's children's poetry, which was filled with magical objects that laughed and cried. By the time I was in high school I was living in Milwaukee, eating fries and ice cream sundaes and reading O. Henry.The literature that one comes in contact with during childhood and young [End Page 101] adulthood is often deeply engraved on a person's psyche. It is similar to an adult craving sweets because of the psychological association with her childhood and a safe and protected environment. We tend to think back to the "good old days" because we find comfort in our past. Today, as an adult, a wife, and a mother, I often find refuge in my childhood memories. And, like most people, much of what I encounter and read today I tend to associate with my past. If I come across a story that I heard in my childhood, as I search for something new and amusing to give to my college English-as-a-Second-Language (ESL) students, I try to incorporate it into my curriculum. A few years ago I came across the story The Necklace by Guy de Mappassant and immediately recalled reading it in my adolescence. This story brought back the warm memories of home that I felt would be understood and identified with by my foreign students. Today, this story is one of my students' favorites. By using stories from my own past, I feel that I can bring to my class discussions a unique perspective—my own recollections and feelings and an interpretation not only academic in nature but also personal. Often, my international students will recall hearing or reading some of the same stories (that I bring to class) in their childhood, in their native tongues, and thus these stories will not seem out of context anymore because there will be a sense of connection.I teach ESL to college students—reading and writing at the intermediate and advanced levels. Aside from following the standard curriculum of using grammar and writing textbooks, I bring to my ESL classes music, opera, art, young adult novels by American writers, and short stories by both international and American writers. For instance, my students enjoy reading O. Henry's "The Christmas Present," "The Last Leaf," and "The Two Thanksgiving Day Gentlemen." These stories are about real people—just like my students—they are about everyday events, they are humorous and tragic in nature, and they have an unexpected twist... (shrink)

The early Chinese text _Master Zhuang_ (_Zhuangzi_) is well known for its relativistic philosophy and colorful anecdotes. In the work, Zhuang Zhou ca. 300 B.C.E.) dreams that he is a butterfly and wonders, upon awaking, if he in fact dreamed that he was a butterfly or if the butterfly is now dreaming that it is Zhuang Zhou. The text also recounts Master Zhuang's encounter with a skull, which praises the pleasures of death over the toil of living. This anecdote became (...) popular with Chinese poets of the second and third century C.E. and found renewed significance with the founders of Quanzhen Daoism in the twelfth century. The Quanzhen masters transformed the skull into a skeleton and treated the object as a metonym for death and a symbol of the refusal of enlightenment. Later preachers made further revisions, adding Master Zhuang's resurrection of the skeleton, a series of accusations made by the skeleton against the philosopher, and the enlightenment of the magistrate who judges their case. The legend of the skeleton was widely popular throughout the Ming dynasty (1368-1644), and the fiction writer Lu Xun (1881-1936) reimagined it in the modern era. The first book in English to trace the development of the legend and its relationship to centuries of change in Chinese philosophy and culture, _The Resurrected Skeleton_ translates and contextualizes the story's major adaptations and draws parallels with the Muslim legend of Jesus's encounter with a skull and the European tradition of the Dance of Death. Translated works include versions of the legend in the form of popular ballads and plays, together with Lu Xun's short story of the 1930s, underlining the continuity between traditional and modern Chinese culture. (shrink)

In 1966, Samuel Beckett wrote, and then abandoned, a short story to which he eventually gave the title Le dépeupleur. In 1970, he completed it to his satisfaction and it was published.1 Two years later, it was issued in an English translation prepared by Beckett himself, who gave it the very different title The Lost Ones. In this story, Beckett is, like Dante, inventing narrative images of a “realm” or “world” in which matters of the utmost (...) existential and moral gravity are at stake.Beckett is frequently interpreted as an existential nihilist—that is to say, someone who, in Nietzsche’s definition, would claim that, with the “death of God,” our moral ideals and values are without any grounding in an ultimate and.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviews 87 c:\users\arlene\documents\rj issues\type3501\rj 3501 061 red.docx 2015-07-10 4:07 PM RUSSELL AS “SPANISH ASTRONOMER” (A RETROSPECTIVE REVIEW) Sheila Turcon Russell Research Centre / McMaster U. Hamilton, on, Canada l8s 4l6 turcon@mcmaster.ca Constance Malleson. The Coming Back. London: Jonathan Cape, 1933. Pp. 328. 7s. 6d. ublished in 1933 and never reprinted, The Coming Back is Constance Malleson’s first novel. She had been publishing shorter fiction as well as articles since (...) 1919.1 Her lover, Bertrand Russell, had encouraged her writing career, assisting with the placement of her first short story in The English Review.2 He thought a writing career preferable to acting. Using the stage name “Colette O’Niel”, she had a successful career on the stage.3 The novel is a fictional account of the love affair between Russell and Colette.They appear as Gregory del Orellano and Konradin Waring. It was not, however, recognized as a roman à clef when it was published, as their affair was not known by anyone except their closest friends and family members. John Slater recognized it for what it was.4 Three of the four Russell biographers mention the novel.5 Presumably all three relied on Slater’s article. Ronald Clark quotes one sentence from the novel, a summation of Gregory’s character by one of the other characters who shared the view of many. Gregory was seen as “a man exhausting other men by his intellect; exhausting women by his intensity; wearing out his friends, sucking them dry, passing from person to person, never giving any real happiness—or finding any” (Coming Back, p. 307; Clark, p. 583). Caroline Moorehead quotes several sentences about the 1 Turcon, “A Bibliography of Constance Malleson” (2012). 2 Malleson, “The End” by “Christine Harte” (1919). 3 Turcon, op. cit., appendix, acting roles, pp. 188–90. 4 John G. Slater, “Lady Constance Malleson, ‘Colette O’Niel’” (1975), pp. 10–11. 5 Clark, The Life of Bertrand Russell (1975); Moorehead, Bertrand Russell (1992); Monk, Bertrand Russell,Vol. 1 (1996). m= 88 Reviews c:\users\arlene\documents\rj issues\type3501\rj 3501 061 red.docx 2015-07-10 4:07 PM importance of work to Konradin—work that Gregory deplored (Coming Back, p. 105; Moorehead, p. 264). Only Ray Monk undertakes a detailed description of the novel, even naming the last chapter of The Spirit of Solitude, “The Coming Back”. He identifies, as did Slater, several other characters with their real life counterparts: Ottoline Morrell is Magdalena de Santa Segunda; T. C. Maynard is T. S. Eliot; Jevons is Clifford Allen; Marcus Beazley is Maurice Elvey; Gertrude West is Dora Black. He quotes the sentence that Clark had used earlier (Monk 1: 607). Monk writes that “Russell claimed never to have read The Coming Back (or any of Colette’s other books). Perhaps he knew it would make painful reading” (1: 608). Monk provides no source for this judgment, and in fact it is untrue. Although The Coming Back is not specifically discussed in their correspondence, her other three books are.6 My reading of the novel is coloured by an attempt to identify what is true in the novel. My knowledge of the truth is based on editing their correspondence.The novel is a fascinating portrait of the Russell and Colette relationship, far more revealing to those in the know than her autobiographies, where libel concerns were always at the forefront. Her first autobiography, AfterTenYears, had been published two years earlier, in 1931, to great acclaim. The Coming Back’s dust-jacket reads: Here is the first novel from the author of that vivid and successful autobiography, After Ten Years. And as might be expected, it shows the same vitality, integrity, and the same passion for beauty as the earlier work. Constance Malleson presents a portrait of a young girl of our times, and of her stand for freedom, through all its stages from selfishness to a fine renunciation. Before the novel begins Colette includes four things. She dedicates the book to “Joneen when he is grown up”. Colette was very fond of Russell’s son John, and this may well refer to... (shrink)

It seems that a Greek romance named Chaereas and Callirhoe—if it was in fact written about A.D. 50—might be the oldest extant romantic novel.1 Chaucer's Troilus, Chretien's Erec, Apuleius' Metamorphoses, and for all l know Homer's Odyssey have already blushed under this dubious accolade; and I do not mean to celebrate an old Greek book by thrusting an English genre-label upon it. But nothing quite like Callirhoe survives from an earlier period of western literature; and following our inclination to (...) comprehend such a phenomenon by fitting it into familiar categories we would call it a Greek romance because it is written in Greek, a novel because it is an extensive prose fiction of ordinary moral life that conforms to a recognizable canon of realism, and a romance because its admirable protagonists suffer the most serious threats to their lives and values but survive them all. Its author, a certain Chariton of Aphrodisia, a small city in the province of Caria in Asia Minor, places his book about Callirhoe in the Hellenistic genre of the erotikon pathematon—a story of erotic suffering. This is an accurate label and perhaps a bold one, as erotic pathemata were thought to be more suitable for epic or elegiac verse than for prose. In any case, I am not here concerned to argue that Callirhoe is the precursor of such entities as the novel, nor to speculate about its cultural origins, nor to point out its obvious likenesses to later narratives. I do want to discuss the habits of narrative art Chariton exploits in his book, and to explore a few of the ways he makes erotic suffering pleasurable for his readers—us, and the leisured, literate members of the bourgeois households that had for centuries flourished in the great Hellenic cities of the eastern Mediterranean basin. · 1. I accept the date accepted by Ben E. Perry, The Ancient Romances , p. 350. The standard edition is W.E. Blake's , whose translation I use throughout. Chariton's work did not see print until 1750, so it did not enjoy the vogue enjoyed by other Greek romances in the Renaissance. Arthur Heiserman is the author of several articles, short stories, and Skelton and Satire. 'Aphrodisian Chastity" will appear as a chapter in his forthcoming book, Romance in Antiquity: Essays and Discussions about the Beginnings of Prose Fiction in the West. (shrink)

The life and work of Kim Iryŏp (1896–1971) bear witness to Korea’s encounter with modernity. A prolific writer, Iryŏp reflected on identity and existential loneliness in her poems, short stories, and autobiographical essays. As a pioneering feminist intellectual, she dedicated herself to gender issues and understanding the changing role of women in Korean society. As an influential Buddhist nun, she examined religious teachings and strove to interpret modern human existence through a religious world view. Originally published in Korea when (...) Iryŏp was in her sixties, Reflections of a Zen Buddhist Nun (Ŏnŭ sudoin ŭi hoesang) makes available for the first time in English a rich, intimate, and unfailingly candid source of material with which to understand modern Korea, Korean women, and Korean Buddhism. -/- Throughout her writing, Iryŏp poses such questions as: How does one come to terms with one’s identity? What is the meaning of revolt and what are its limitations? How do we understand the different dimensions of love in the context of Buddhist teachings? What is Buddhist awakening? How do we attain it? How do we understand God and the relationship between good and evil? What is the meaning of religious practice in our time? We see through her thought and life experiences the co-existence of seemingly conflicting ideas and ideals—Christianity and Buddhism, sexual liberalism and religious celibacy, among others. -/- In Reflections of a Zen Buddhist Nun, Iryŏp challenges readers with her creative interpretations of Buddhist doctrine and her reflections on the meaning of Buddhist practice. In the process she offers insight into a time when the ideas and contributions of women to twentieth-century Korean society and intellectual life were just beginning to emerge from the shadows, where they had been obscured in the name of modernization and nation-building. (shrink)

It has been proposed that processing sentential negation recruits the neural network of inhibitory control. In addition, inhibition mechanisms also play a role in switching languages for bilinguals. Since both processes may share inhibitory resources, the current study explored for the first time whether and how language-switching influences the processing of negation. To this end, two groups of Spanish-English bilinguals participated in an encoding-verification memory task. They read short stories involving the same two protagonists, referring to their activities (...) in four different scenarios in Spanish or English. Following each story, the participants received verification questions requiring “yes” or “no” responses depending on whether a given fact was correctly referred to one of the protagonists. Some of the verification questions were in the story’s original language and others in the alternate language. Results revealed that language-switching facilitated negative responses compared to affirmative responses, exclusively for questions switching from dominant language to non-dominant language. This effect might reflect that the domain-general mechanisms of inhibitory control are recruited at least partially for both language switch and negation process simultaneously, although this phenomenon is modulated by language dominance. (shrink)

Over the years Hegel’s social and political theory has often been measured against the more overtly revolutionary views of Karl Marx. More often than not, Hegel has been judged conservative, his ideas deemed lacking in critical force. Just what is meant by “critical” and “revolutionary” has not always been made conceptually clear; but nonetheless, despite the deep influence of Hegelian dialectics on Marx’s conception of history and on the methodology of his analysis of capital, it has been generally acknowledged that (...) Marx was a more profound critic of the organization and inner dynamic of modern bourgeois society. Hegel’s supposed conservatism, traced back of course to those infamous comments in the Preface to the Philosophy of Right, is by now a well rehearsed story. Yet even for many of those commentators who have tried to reconstruct the view of Hegel as a conservative political theorist, Hegel’s analysis of civil society falls short of providing the critical tools necessary to overcome the emerging problems of nineteenth century bourgeois society, let alone those of today. It is at this point that so many have turned to Marx for a more radical critique of the values and structures of capitalist society. Certainly among the many commentators in the tradition of Lukács and Marcuse, the revolutionary impetus toward liberation is to be found in the work of Marx and not Hegel. (shrink)