{"title":"Notes on Facing The Biographical Illusion Without Getting Lost in the Process","authors":"Alexius A. Pereira","doi":"10.22492/IJAH.5.1.01","DOIUrl":"https://doi.org/10.22492/IJAH.5.1.01","url":null,"abstract":"","PeriodicalId":331688,"journal":{"name":"IAFOR Journal of Arts and Humanities","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120936749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A literary work is most often characterised by formal, thematic and stylistic features. The distinction between these is never obvious, though. In a Petrarchan sonnet, for instance, the form is closely tied to the theme (tension in the octet and relief in the sestet). Similarly, the traditional ballad generally tells a tragic story in local history or legend in quatrains where the second and fourth lines usually rhyme. Stylistically, a ballad will tend to use simple language and occasional vivid dialogue. However, throughout history, many literary genres have undergone changes that would often free them from formal constraints, so much so that a modern reader might wonder why W. C. Williams’s “This is just to say” should not be taken as prose or Martin Luther King’s “I have a dream” as verse. Genre assignment has thus grown increasingly complex, an operation that will need to take into consideration the dynamicity of the creative literary mind and its resistance to submissive alignment with generic standards. In this context, the following paper will consult recent views on genre and genre modelling in an effort to elucidate how W. B. Yeats’s “September 1913”, by embodying prominent generic features of poetry and elegy, can be read as a model of compound generic deviations. This makes the work a modelled piece that resists generic categorization and testifies to the poet’s strategic unwillingness to irretrievably engage with the nationalist cause.
{"title":"W. B. Yeats’ “September 1913” as an Elegy: Generic Deviation","authors":"Lamia Jaoua Sahnoun","doi":"10.22492/ijah.5.1.06","DOIUrl":"https://doi.org/10.22492/ijah.5.1.06","url":null,"abstract":"A literary work is most often characterised by formal, thematic and stylistic features. The distinction between these is never obvious, though. In a Petrarchan sonnet, for instance, the form is closely tied to the theme (tension in the octet and relief in the sestet). Similarly, the traditional ballad generally tells a tragic story in local history or legend in quatrains where the second and fourth lines usually rhyme. Stylistically, a ballad will tend to use simple language and occasional vivid dialogue. However, throughout history, many literary genres have undergone changes that would often free them from formal constraints, so much so that a modern reader might wonder why W. C. Williams’s “This is just to say” should not be taken as prose or Martin Luther King’s “I have a dream” as verse. Genre assignment has thus grown increasingly complex, an operation that will need to take into consideration the dynamicity of the creative literary mind and its resistance to submissive alignment with generic standards. In this context, the following paper will consult recent views on genre and genre modelling in an effort to elucidate how W. B. Yeats’s “September 1913”, by embodying prominent generic features of poetry and elegy, can be read as a model of compound generic deviations. This makes the work a modelled piece that resists generic categorization and testifies to the poet’s strategic unwillingness to irretrievably engage with the nationalist cause.","PeriodicalId":331688,"journal":{"name":"IAFOR Journal of Arts and Humanities","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114832707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Past is Present and Future: Recurring Violence and Remaining Human in J. K. Rowling’s Harry Potter Series","authors":"A. Alghamdi","doi":"10.22492/IJAH.5.1.04","DOIUrl":"https://doi.org/10.22492/IJAH.5.1.04","url":null,"abstract":"","PeriodicalId":331688,"journal":{"name":"IAFOR Journal of Arts and Humanities","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125507903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How do the visual phenomena of Japan live in transnational communities today? How can they embrace international tropes, while retaining the distinctly local sensibilities of Yamato-e “Japanese picture”, cursive kana calligraphies, or ukiyo-e “floating world pictures”? This paper examines the apparent paradox of these questions through the divergent projects of Katsushika Hokusai, Kusama Yayoi, and Masami Teraoka. It examines the ways each has developed their own synthesis of the conventions of local and international cultural currencies. It finds, within Japan's transnational sources and relocations of visual arts, the retention of distinct (and distinctly independent) sensibilities of Yamato pasts. It also argues that the significance of their projects reaches far beyond any Japanese location, finding purchase with viewers across the globe.
{"title":"Locating and Relocating Cultural Engagements in a Transnational Age","authors":"D. Bell","doi":"10.22492/IJAH.5.1.05","DOIUrl":"https://doi.org/10.22492/IJAH.5.1.05","url":null,"abstract":"How do the visual phenomena of Japan live in transnational communities today? How can they embrace international tropes, while retaining the distinctly local sensibilities of Yamato-e “Japanese picture”, cursive kana calligraphies, or ukiyo-e “floating world pictures”? This paper examines the apparent paradox of these questions through the divergent projects of Katsushika Hokusai, Kusama Yayoi, and Masami Teraoka. It examines the ways each has developed their own synthesis of the conventions of local and international cultural currencies. It finds, within Japan's transnational sources and relocations of visual arts, the retention of distinct (and distinctly independent) sensibilities of Yamato pasts. It also argues that the significance of their projects reaches far beyond any Japanese location, finding purchase with viewers across the globe.","PeriodicalId":331688,"journal":{"name":"IAFOR Journal of Arts and Humanities","volume":"12 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132407146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article reviews distinctive elements of Werner Herzog’s naturalism and endeavors to analyse it within a philosophical framework that has Gilles Deleuze’s ideas as primary referent. Deleuze’s discussion of Stoic philosophy, specifically the concept of quasi-causality, will be a critical mainstay for this reading of Herzog. The axial objective is to determine how an immanent construction of reality, or what I will call genesis, is the subject matter of both Herzog’s speculative and imaginative naturalism and Deleuze’s pluralistic realism. This notion demands that we direct our attention to the manner in which Herzog's protagonists are all mad in a way, all the while focusing on how this madness helps to forge the distinctive characteristics of his aesthetic creation. As a result, we find in Herzog a peculiar kind of agency, different from rational or causal agency. Here, drives and impulses inform decisions and incite the characters to take action. Consequently, I aim to demonstrate the existence of an affinity between this agency in Herzog and the notion of quasi-causality in Deleuze’s reading of the Stoics.
{"title":"New Naturalism of Herzog and Deleuze","authors":"Mehdi Parsakhanqah","doi":"10.22492/IJAH.5.1.09","DOIUrl":"https://doi.org/10.22492/IJAH.5.1.09","url":null,"abstract":"This article reviews distinctive elements of Werner Herzog’s naturalism and endeavors to analyse it within a philosophical framework that has Gilles Deleuze’s ideas as primary referent. Deleuze’s discussion of Stoic philosophy, specifically the concept of quasi-causality, will be a critical mainstay for this reading of Herzog. The axial objective is to determine how an immanent construction of reality, or what I will call genesis, is the subject matter of both Herzog’s speculative and imaginative naturalism and Deleuze’s pluralistic realism. This notion demands that we direct our attention to the manner in which Herzog's protagonists are all mad in a way, all the while focusing on how this madness helps to forge the distinctive characteristics of his aesthetic creation. As a result, we find in Herzog a peculiar kind of agency, different from rational or causal agency. Here, drives and impulses inform decisions and incite the characters to take action. Consequently, I aim to demonstrate the existence of an affinity between this agency in Herzog and the notion of quasi-causality in Deleuze’s reading of the Stoics.","PeriodicalId":331688,"journal":{"name":"IAFOR Journal of Arts and Humanities","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122985083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Science tells us that reality as we experience it and ultimate physical reality are different. It also tells us that we can imagine other physical possibilities, and that perceptions of reality can differ. However, much of our everyday reality is constructed verbally or by other semiotic means – not just perceptually. What can our knowledge of language tell us about the language/reality relation? Can we conceive of different experiences of reality constructed by verbal or other semiotic means? How can such thought experiments help us to understand language as it exists? Small model languages and imaginary semiotic means are used to explore the issues and some possibilities for changed communicational parameters leading to alternative views of reality are considered.
{"title":"Verbally Constructed Reality and Alternative Realities through Communication – An Exploration","authors":"P. Rastall","doi":"10.22492/ijah.5.1.03","DOIUrl":"https://doi.org/10.22492/ijah.5.1.03","url":null,"abstract":"Science tells us that reality as we experience it and ultimate physical reality are different. It also tells us that we can imagine other physical possibilities, and that perceptions of reality can differ. However, much of our everyday reality is constructed verbally or by other semiotic means – not just perceptually. What can our knowledge of language tell us about the language/reality relation? Can we conceive of different experiences of reality constructed by verbal or other semiotic means? How can such thought experiments help us to understand language as it exists? Small model languages and imaginary semiotic means are used to explore the issues and some possibilities for changed communicational parameters leading to alternative views of reality are considered.","PeriodicalId":331688,"journal":{"name":"IAFOR Journal of Arts and Humanities","volume":"180 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132450859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Contradictions and paradoxes are characteristic features of Wallace Stevens’s poetry; these traits prompt judgments of him as a “difficult” poet and of his poems as all but approachable. Among other things, this difficulty in approaching Stevens’s poems may stem from the meta-poetic dimension of poems such as “Of Modern Poetry”, “The Poems of our Climate”, “The Man with the Blue Guitar”, and so on. And yet, Stevens remains one of America’s most remarkable poets, tackling themes pertaining to identity, loss, estrangement, hope, despair and, above all, the intractable paradoxes that inform national life in the United States. In this sense, his poetry presents a recognizable pattern of pairings of real vs. imaginary, reality vs. poetry, history versus art, consciousness of fact versus imagination, and poetry as synonymous with individual freedom versus politics as possibly evolving into a totalitarian system. The issue of the tension between politics and poetry, between an imperfect, bitter reality and a delightful poetic release seems to be a core component of his poetic output. The objective in this paper is to chart the course of this tension, assess the antagonistic pulls of consciousness and imagination, perfection and imperfection that take place within what Stevens describes as “the never-resting mind”. This is primarily achieved through a reading of “The Poems of our Climate”.
{"title":"Wallace Stevens’s “Flawed Words and Stubborn Sounds”: Poeticizing the Imperfect?","authors":"Ikram Hili","doi":"10.22492/ijah.5.1.08","DOIUrl":"https://doi.org/10.22492/ijah.5.1.08","url":null,"abstract":"Contradictions and paradoxes are characteristic features of Wallace Stevens’s poetry; these traits prompt judgments of him as a “difficult” poet and of his poems as all but approachable. Among other things, this difficulty in approaching Stevens’s poems may stem from the meta-poetic dimension of poems such as “Of Modern Poetry”, “The Poems of our Climate”, “The Man with the Blue Guitar”, and so on. And yet, Stevens remains one of America’s most remarkable poets, tackling themes pertaining to identity, loss, estrangement, hope, despair and, above all, the intractable paradoxes that inform national life in the United States. In this sense, his poetry presents a recognizable pattern of pairings of real vs. imaginary, reality vs. poetry, history versus art, consciousness of fact versus imagination, and poetry as synonymous with individual freedom versus politics as possibly evolving into a totalitarian system. The issue of the tension between politics and poetry, between an imperfect, bitter reality and a delightful poetic release seems to be a core component of his poetic output. The objective in this paper is to chart the course of this tension, assess the antagonistic pulls of consciousness and imagination, perfection and imperfection that take place within what Stevens describes as “the never-resting mind”. This is primarily achieved through a reading of “The Poems of our Climate”.","PeriodicalId":331688,"journal":{"name":"IAFOR Journal of Arts and Humanities","volume":"517 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133564702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Evie Wyld’s novel All the Birds, Singing (2013) draws attention to the interrelation of personal history, trauma narratives, and coming-of-age stories. I will analyze Wyld’s novel with reference to two bodies of theory: Bergson’s model of the “indivisibility of change” (p. 263), which re-conceptualizes the past as part of a “perpetual present” (p. 262), and Pederson’s revised literary theory of trauma, which deviates from crucial tenets of traditional literary trauma studies. Due to the novel’s unconventional structure of a backward-moving narrative strand interlocked with a forward-moving one, the crisis the narrator experienced in adolescence moves centre stage, which shows that, in the case of trauma, coming-of-age requires a continual negotiating of this experience. The novel challenges “strategically grim” coming-of-age narratives which represent trauma merely “as part of a narrative of the young protagonist’s redemption or maturation,” so that “resolution occurs as a matter of narrative convention […]” (Gilmore and Marshall, p. 23). All the Birds, Singing demonstrates that the painstaking processing of a painful personal history in narrative by establishing a dialogue of voices – and thus of selves –is an essential prerequisite for maturation. The genre of coming-of-age narratives, beside including novels which present a crisis merely as a necessary step on the way to adult life, thus also needs to incorporate texts documenting the persistence of trauma in a protagonist’s life.
{"title":"The Indivisibility of Change: The Challenge of Trauma to the Genre of Coming-of-Age Narratives","authors":"Nicole Frey Buechel","doi":"10.22492/IJAH.5.1.02","DOIUrl":"https://doi.org/10.22492/IJAH.5.1.02","url":null,"abstract":"Evie Wyld’s novel All the Birds, Singing (2013) draws attention to the interrelation of personal history, trauma narratives, and coming-of-age stories. I will analyze Wyld’s novel with reference to two bodies of theory: Bergson’s model of the “indivisibility of change” (p. 263), which re-conceptualizes the past as part of a “perpetual present” (p. 262), and Pederson’s revised literary theory of trauma, which deviates from crucial tenets of traditional literary trauma studies. Due to the novel’s unconventional structure of a backward-moving narrative strand interlocked with a forward-moving one, the crisis the narrator experienced in adolescence moves centre stage, which shows that, in the case of trauma, coming-of-age requires a continual negotiating of this experience. The novel challenges “strategically grim” coming-of-age narratives which represent trauma merely “as part of a narrative of the young protagonist’s redemption or maturation,” so that “resolution occurs as a matter of narrative convention […]” (Gilmore and Marshall, p. 23). All the Birds, Singing demonstrates that the painstaking processing of a painful personal history in narrative by establishing a dialogue of voices – and thus of selves –is an essential prerequisite for maturation. The genre of coming-of-age narratives, beside including novels which present a crisis merely as a necessary step on the way to adult life, thus also needs to incorporate texts documenting the persistence of trauma in a protagonist’s life.","PeriodicalId":331688,"journal":{"name":"IAFOR Journal of Arts and Humanities","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122298701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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