Abstract: In his novels and theoretical works, Martiniquan writer Édouard Glissant favors a process of creolization that entails a creative mixing of languages rather than a reinforcement of linguistic hierarchical binaries. For Glissant, creolization does not produce direct synthesis but resultants, a sort of polylingualism within. Patrick Chamoiseau, Glissant’s protégé, also seeks to bridge the gap between standard and nonstandard language through a stylized hybrid. Intended to be self-glossing, the work of Chamoiseau is infused with Creole in sophisticated, didactic ways so as not to alienate the uninitiated reader. In this way, Chamoiseau solicits readers’ active participation in his display of the literary beauty and inventiveness of Creole and, thus, ultimately portrays the vernacular not as an inferior form of speech or simply as other but rather as a language capable of being elevated above standard French. Moreover, Chamoiseau upends traditional methods of incorporating nonstandard language in literary texts by treating the standard form of language as if it were a dialect or patois. Not only does standard French appear in italics, but the intonations of stilted, conventional academic speak are typographically represented in a way that parodies pejorative, humorous representations of the vernacular and other forms of marginalized language. By focusing primarily on diglossic situations involving French and Creole in the works of Chamoiseau, this article explores the ways in which “creolization”—the stylistic representation of a nonstandard form of language—captures the becoming of all languages through its celebration of relational interactions and distinctiveness rather than isolation and hegemony.
{"title":"Chamoiseau’s Literary Creolization: The Stylistic Potential of a Vernacular","authors":"Mandy Mazur","doi":"10.3138/YCL.61.328","DOIUrl":"https://doi.org/10.3138/YCL.61.328","url":null,"abstract":"Abstract: In his novels and theoretical works, Martiniquan writer Édouard Glissant favors a process of creolization that entails a creative mixing of languages rather than a reinforcement of linguistic hierarchical binaries. For Glissant, creolization does not produce direct synthesis but resultants, a sort of polylingualism within. Patrick Chamoiseau, Glissant’s protégé, also seeks to bridge the gap between standard and nonstandard language through a stylized hybrid. Intended to be self-glossing, the work of Chamoiseau is infused with Creole in sophisticated, didactic ways so as not to alienate the uninitiated reader. In this way, Chamoiseau solicits readers’ active participation in his display of the literary beauty and inventiveness of Creole and, thus, ultimately portrays the vernacular not as an inferior form of speech or simply as other but rather as a language capable of being elevated above standard French. Moreover, Chamoiseau upends traditional methods of incorporating nonstandard language in literary texts by treating the standard form of language as if it were a dialect or patois. Not only does standard French appear in italics, but the intonations of stilted, conventional academic speak are typographically represented in a way that parodies pejorative, humorous representations of the vernacular and other forms of marginalized language. By focusing primarily on diglossic situations involving French and Creole in the works of Chamoiseau, this article explores the ways in which “creolization”—the stylistic representation of a nonstandard form of language—captures the becoming of all languages through its celebration of relational interactions and distinctiveness rather than isolation and hegemony.","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126056907","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}
I’d like to pursue a connection that Robert Alter makes early in his lecture and use it to look at some of the implications of his argument and examples. It has to do with the kind of narrative commentary found in Stendhal and not in the David story, and that Alter thinks, surely rightly, is something that Stendhal “picked up from Fielding.” It is in one of those commentaries by Fielding, which Alter knows very well, since he wrote an excellent book on that author, that we get a remarkable comic anticipation of one of the governing ideas of his lecture: the idea that “the special purchase that fiction has on politics is through character.” I’m thinking of Fielding’s “praise of biography” in the chapter introducing Book III of Joseph Andrews. The jokes begin right away, since by “biography,” Fielding means novels: true stories about fictional people as distinct from fantasies about real countries, the sort of thing we usually call history. The latter set includes books with titles like, in Fielding’s instances, “the History of England, the History of France, of Spain, etc.” These historians, Fielding suggests, get the time and place right but almost everything else wrong. They
{"title":"Response to Robert Alter, “Political Fiction”","authors":"M. Wood","doi":"10.3138/YCL.61.315","DOIUrl":"https://doi.org/10.3138/YCL.61.315","url":null,"abstract":"I’d like to pursue a connection that Robert Alter makes early in his lecture and use it to look at some of the implications of his argument and examples. It has to do with the kind of narrative commentary found in Stendhal and not in the David story, and that Alter thinks, surely rightly, is something that Stendhal “picked up from Fielding.” It is in one of those commentaries by Fielding, which Alter knows very well, since he wrote an excellent book on that author, that we get a remarkable comic anticipation of one of the governing ideas of his lecture: the idea that “the special purchase that fiction has on politics is through character.” I’m thinking of Fielding’s “praise of biography” in the chapter introducing Book III of Joseph Andrews. The jokes begin right away, since by “biography,” Fielding means novels: true stories about fictional people as distinct from fantasies about real countries, the sort of thing we usually call history. The latter set includes books with titles like, in Fielding’s instances, “the History of England, the History of France, of Spain, etc.” These historians, Fielding suggests, get the time and place right but almost everything else wrong. They","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132802099","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}
Abstract: The present article returns to Mikhail Bakhtin’s theory of carnival in order to reconsider the role that the nineteenth-century writer Nikolai Gogol plays for Bakhtin in that theory’s elaboration, from Bakhtin’s earliest writings on the subject in the late 1930s to the publication of his study of Rabelais in 1965 and the companion essay on Rabelais and Gogol in 1972. Whereas Bakhtin’s published works seem to present Gogol as an exemplary manifestation of carnival in the modern period, his notebooks point us toward a more negative reading of Gogol: as carnival’s nemesis—specifically, as the disorganizing intrusion of allegory into the allegedly organic and symbolic political order that carnival claims as its source and its strength.
{"title":"Bakhtin and Gogol, or, The Question of Allegory and the Politics of Carnival","authors":"Matthew D. Walker","doi":"10.3138/YCL.61.130","DOIUrl":"https://doi.org/10.3138/YCL.61.130","url":null,"abstract":"Abstract: The present article returns to Mikhail Bakhtin’s theory of carnival in order to reconsider the role that the nineteenth-century writer Nikolai Gogol plays for Bakhtin in that theory’s elaboration, from Bakhtin’s earliest writings on the subject in the late 1930s to the publication of his study of Rabelais in 1965 and the companion essay on Rabelais and Gogol in 1972. Whereas Bakhtin’s published works seem to present Gogol as an exemplary manifestation of carnival in the modern period, his notebooks point us toward a more negative reading of Gogol: as carnival’s nemesis—specifically, as the disorganizing intrusion of allegory into the allegedly organic and symbolic political order that carnival claims as its source and its strength.","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122987276","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}
I would like to begin with a brief autobiographical anecdote. In the late 1970s, through circumstances not entirely of my devising, I found myself working on two large projects separated from each other by nearly three thousand years—a critical biography of Stendhal and a book on biblical narrative. From time to time, I would ask myself whether I might be a little daft to be doing this, wondering whether there could be any conceivable connection between the two subjects. On the biblical side, because the David story is one of the greatest pieces of extended narrative in the Hebrew Bible, I drew many examples from it for my book. With the passage of time, it dawned on me that because the David story and Stendhal’s Charterhouse of Parma are two of the supremely knowing narratives about politics in our literary tradition, there might be connections between them, for all the obvious differences. Let me first note the most salient of those differences. The David story is told by a narrator who, like his counterparts elsewhere in the Bible, makes a point of keeping a very low profile, not commenting on the characters and events, allowing actions and dialogue to speak for themselves. Stendhal’s narrator, by contrast, offers a good deal of commentary on the characters and often seems virtually to chat with the reader—a procedure Stendhal may have picked up from Fielding, whom he passionately admired—as he sets almost everything in a worldly ironic perspective. The satiric outlook of Charterhouse generates moments of high comedy, a quality entirely absent from the urgently intense biblical story. In addition to these differences, Stendhal’s novel of 1838 is even more strongly attached to European romanticism than it is to the scintillating acerbic prose of eighteenth-century England and France that it emulates. Its
{"title":"Political Fiction, Ancient and Modern: From David’s Court to Fabrice’s Charterhouse","authors":"R. Alter","doi":"10.3138/YCL.61.287","DOIUrl":"https://doi.org/10.3138/YCL.61.287","url":null,"abstract":"I would like to begin with a brief autobiographical anecdote. In the late 1970s, through circumstances not entirely of my devising, I found myself working on two large projects separated from each other by nearly three thousand years—a critical biography of Stendhal and a book on biblical narrative. From time to time, I would ask myself whether I might be a little daft to be doing this, wondering whether there could be any conceivable connection between the two subjects. On the biblical side, because the David story is one of the greatest pieces of extended narrative in the Hebrew Bible, I drew many examples from it for my book. With the passage of time, it dawned on me that because the David story and Stendhal’s Charterhouse of Parma are two of the supremely knowing narratives about politics in our literary tradition, there might be connections between them, for all the obvious differences. Let me first note the most salient of those differences. The David story is told by a narrator who, like his counterparts elsewhere in the Bible, makes a point of keeping a very low profile, not commenting on the characters and events, allowing actions and dialogue to speak for themselves. Stendhal’s narrator, by contrast, offers a good deal of commentary on the characters and often seems virtually to chat with the reader—a procedure Stendhal may have picked up from Fielding, whom he passionately admired—as he sets almost everything in a worldly ironic perspective. The satiric outlook of Charterhouse generates moments of high comedy, a quality entirely absent from the urgently intense biblical story. In addition to these differences, Stendhal’s novel of 1838 is even more strongly attached to European romanticism than it is to the scintillating acerbic prose of eighteenth-century England and France that it emulates. Its","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121580584","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}
Abstract: Mahmoud Darwish is considered the national Palestinian poet, a symbol of the national struggle against the Israeli occupation. Sami Shalom Chetrit and Almog Behar, two prominent Israeli poets of Arab decent (Chetrit was born in Morocco; Behar’s family is from Iraq), have both written poems directed to Darwish in which they address both his vast poetic corpus and his public and political figure. Close reading these poetic addresses, I discuss Darwish’s own poetry as an intertext in these Hebrew poems, as well as the significance of writing about him and to him in Hebrew and in Israel, specifically by poets of Arab descent. Moreover, this discussion serves as an opportunity to read Hebrew and Arabic together, challenging the clear-cut national distinctions while still acknowledging their pervasiveness and the inevitable questions of power, as the poems do themselves.
{"title":"“Dialogue in Monologue”: Addressing Darwish in Hebrew","authors":"Yael Kenan","doi":"10.3138/YCL.61.320","DOIUrl":"https://doi.org/10.3138/YCL.61.320","url":null,"abstract":"Abstract: Mahmoud Darwish is considered the national Palestinian poet, a symbol of the national struggle against the Israeli occupation. Sami Shalom Chetrit and Almog Behar, two prominent Israeli poets of Arab decent (Chetrit was born in Morocco; Behar’s family is from Iraq), have both written poems directed to Darwish in which they address both his vast poetic corpus and his public and political figure. Close reading these poetic addresses, I discuss Darwish’s own poetry as an intertext in these Hebrew poems, as well as the significance of writing about him and to him in Hebrew and in Israel, specifically by poets of Arab descent. Moreover, this discussion serves as an opportunity to read Hebrew and Arabic together, challenging the clear-cut national distinctions while still acknowledging their pervasiveness and the inevitable questions of power, as the poems do themselves.","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"142 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114760478","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}
Abstract: This article presents a study of selected nineteenth- and early twentieth-century narratives in which men long missing return too late, fail to come home, or vanish in unexpected and sometimes unprecedented ways.
{"title":"Fictions of the Return","authors":"Daniel Heller-Roazen","doi":"10.3138/YCL.61.218","DOIUrl":"https://doi.org/10.3138/YCL.61.218","url":null,"abstract":"Abstract: This article presents a study of selected nineteenth- and early twentieth-century narratives in which men long missing return too late, fail to come home, or vanish in unexpected and sometimes unprecedented ways.","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115346115","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}
The name Stanislas Breton (1912–2005) is probably not familiar to many US academics. A theologian and philosopher, he taught from 1970 to his retirement at the École normale supérieure in Paris. Breton was close to Althusser’s circle; some readers will recognize his name from Étienne Balibar’s references to the essay we translate below—or from references to Breton in the work of Michel de Certeau, Paul Ricoeur, and Barbara Cassin. (“‘Dieu est Dieu’” appears in a volume dedicated to Cassin and her family.)
Stanislas Breton(1912-2005)这个名字对许多美国学者来说可能并不熟悉。作为一名神学家和哲学家，他从1970年开始在巴黎École normale supersamrieure教书直到退休。布列塔尼离阿尔都塞的圈子很近;有些读者会从Étienne巴里巴对我们下面翻译的文章的引用中认出他的名字，或者从米歇尔·德·塞托、保罗·里科尔和芭芭拉·卡辛的作品中对布列塔尼的引用中认出他的名字。(《上帝是上帝》(Dieu est Dieu)收录在一本献给卡辛及其家人的书中。)
{"title":"“God is God”: Essay on the Violence of Tautological Propositions","authors":"S. Breton","doi":"10.3138/YCL.61.203","DOIUrl":"https://doi.org/10.3138/YCL.61.203","url":null,"abstract":"The name Stanislas Breton (1912–2005) is probably not familiar to many US academics. A theologian and philosopher, he taught from 1970 to his retirement at the École normale supérieure in Paris. Breton was close to Althusser’s circle; some readers will recognize his name from Étienne Balibar’s references to the essay we translate below—or from references to Breton in the work of Michel de Certeau, Paul Ricoeur, and Barbara Cassin. (“‘Dieu est Dieu’” appears in a volume dedicated to Cassin and her family.)","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134263129","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":"\"This Globe, Full of Figures\": Woolf's Comprehensive Economy","authors":"Judith A. Brown","doi":"10.3138/YCL.60.X.105","DOIUrl":"https://doi.org/10.3138/YCL.60.X.105","url":null,"abstract":"","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124899746","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}
Literature is an unclosed transaction in the sense that one party, the reader, considers the work a gift outright and not a loan, that is, a provisional displacement of property which must one day be replaced.2 For this reason, literary debts are understood as chimerical obligations that need not be repaid. Plagiarism is theorized away as imitatio; successful creative performances redeem larceny. “Toute l’histoire des arts pourrait être envisagée sous l’aspect d’un jeu d’emprunts et de prêts--qui font moins problème que leur restitution--, un échange à distance où l’oubli ne joue pas moins son rôle que la mémoire et la vraie ou fausse reconnaissance.”3 Every debt, including the everyday monetary debt, becomes a literary debt as soon as it is understood as an unfinished transaction. The creditor wants to know one thing: when will the transaction be closed? Whereas the debtor may prefer to ask another question: does it really need to be closed?
文学是一种未封闭的交易，在某种意义上，一方，即读者，认为作品完全是一种礼物，而不是一种贷款，也就是说，一种暂时的财产转移，总有一天必须被取代因此，文学债务被理解为不需要偿还的虚幻义务。剽窃被理论化为模仿;成功的创造性表演弥补了盗窃。“tte l 'histoire des arts pourrait être envisage sous l 'aspect d ' unjeu ' emprents et de prêts————qui font moins problme que leur restitution————unsamuchange distance où l 'oubli ne joue pas moins son rôle que la mmoire et la vresae ou fausse reconnaissance”。每一笔债务，包括日常的货币债务，一旦被理解为一笔未完成的交易，就变成了一笔文学债务。债权人想知道一件事:交易何时结束?而债务人可能更愿意问另一个问题:它真的需要关闭吗?
{"title":"Cats (and Creditors) Do Not Exist","authors":"Christopher S. Wood","doi":"10.3138/YCL.60.X.199","DOIUrl":"https://doi.org/10.3138/YCL.60.X.199","url":null,"abstract":"Literature is an unclosed transaction in the sense that one party, the reader, considers the work a gift outright and not a loan, that is, a provisional displacement of property which must one day be replaced.2 For this reason, literary debts are understood as chimerical obligations that need not be repaid. Plagiarism is theorized away as imitatio; successful creative performances redeem larceny. “Toute l’histoire des arts pourrait être envisagée sous l’aspect d’un jeu d’emprunts et de prêts--qui font moins problème que leur restitution--, un échange à distance où l’oubli ne joue pas moins son rôle que la mémoire et la vraie ou fausse reconnaissance.”3 Every debt, including the everyday monetary debt, becomes a literary debt as soon as it is understood as an unfinished transaction. The creditor wants to know one thing: when will the transaction be closed? Whereas the debtor may prefer to ask another question: does it really need to be closed?","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114463172","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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