Pub Date : 2023-02-23DOI: 10.3390/literature3010010
Gala Maria Follaco
Throughout his life, Nagai Kafū (1879–1959) tackled crucial issues of modernity, such as the urban experience and conflicting notions of selfhood. This article explores some aspects of his narrative practice that enrich our understanding of his literary output while suggesting new avenues for future research on space-time representation in twentieth-century literature. I focus on passive senses such as hearing and smell, and on material objects and physical sensations as narrative devices employed by the author in order to broaden comprehension and enrich the experience of objective reality. In particular, I examine Yukidoke (Melting Snow), a 1922 short story understudied thus far but that offers useful insights as regards the author’s intent to defy superimposed notions of affect and space.
{"title":"Sound, Smell, Objects, and the Discursive Space of Nagai Kafū’s 1920s Fiction","authors":"Gala Maria Follaco","doi":"10.3390/literature3010010","DOIUrl":"https://doi.org/10.3390/literature3010010","url":null,"abstract":"Throughout his life, Nagai Kafū (1879–1959) tackled crucial issues of modernity, such as the urban experience and conflicting notions of selfhood. This article explores some aspects of his narrative practice that enrich our understanding of his literary output while suggesting new avenues for future research on space-time representation in twentieth-century literature. I focus on passive senses such as hearing and smell, and on material objects and physical sensations as narrative devices employed by the author in order to broaden comprehension and enrich the experience of objective reality. In particular, I examine Yukidoke (Melting Snow), a 1922 short story understudied thus far but that offers useful insights as regards the author’s intent to defy superimposed notions of affect and space.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87014557","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}
Pub Date : 2023-02-16DOI: 10.3390/literature3010009
Baryon Tensor Posadas
Commentary that observes the frequency of the appearances of images of disaster pervades much of the discourse surrounding postwar Japanese popular culture, and especially Japanese science fiction. Against such approaches, I argue that it is more productive to read these narratives of disaster through the critical lens of the genre’s engagement with the problem of futurity. My contention then is that these narratives of disaster do not merely function as imaginative repetitions or re-enactments of past events, but also take on an anticipatory quality, affectively preparing and the ground for and pre-empting responses to future events. I examine the work of Komatsu Sakyō (1931–2011) in particular, whose writing makes for an illustrative test case for articulating the premediative dimension of disaster narratives in postwar Japanese science fiction.
{"title":"“That Day Does Not Belong to Our Generation”: Komatsu Sakyō’s Affective Futurities","authors":"Baryon Tensor Posadas","doi":"10.3390/literature3010009","DOIUrl":"https://doi.org/10.3390/literature3010009","url":null,"abstract":"Commentary that observes the frequency of the appearances of images of disaster pervades much of the discourse surrounding postwar Japanese popular culture, and especially Japanese science fiction. Against such approaches, I argue that it is more productive to read these narratives of disaster through the critical lens of the genre’s engagement with the problem of futurity. My contention then is that these narratives of disaster do not merely function as imaginative repetitions or re-enactments of past events, but also take on an anticipatory quality, affectively preparing and the ground for and pre-empting responses to future events. I examine the work of Komatsu Sakyō (1931–2011) in particular, whose writing makes for an illustrative test case for articulating the premediative dimension of disaster narratives in postwar Japanese science fiction.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74680219","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}
Pub Date : 2023-02-08DOI: 10.3390/literature3010008
Matthew Mewhinney
This article examines Japanese novelist Natsume Sōseki’s (1867–1916) memoir Recollecting and Such (Omoidasu koto nado; 1910). I argue that Sōseki invites the reader to imagine breath through his literary representation of both physiological and metaphysical experience and the rhythm of the narrative’s experimental poetic form. In concert with the theme of this special issue, I show how Recollecting and Such self-reflexively restores and evokes the corporeal experience of sensation beyond just visual perception: the narrative reveals itself as a poetic form of measurement and its first-person narrator a “rhythmanalyst”, someone who listens to the internal rhythms of his own body and then to that of the external world (Henri Lefebvre). The narrator’s awareness of the duration, frequency, and intensity of sensation as well as his regular compositions of metered verse—haiku and kanshi (traditional Chinese poetry as practiced in Japan; Sinitic verse)—are ways that the narrative measures the limits of life, memory, and sensory experience. The oscillation between prose and poetry in the narrative generates an organic rhythm, simulating the long and short breaths of a convalescing body, which invites the reader to breathe together—“to conspire” in the literal sense—with the text as a form of sympathy.
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Pub Date : 2023-01-31DOI: 10.3390/literature3010007
Christopher Crosbie
In his response to the Dauphin, his threats before Harfleur’s walls, and his St. Crispin’s Day oration, Henry V deploys what we might call proleptic histories of the present as a means of rhetorical persuasion. Henry invites his audiences, that is, to imagine themselves in the future, understanding the present as part of their own history. Henry’s invocation of an imagined future that understands the present as a theoretical past betrays a surprising indebtedness to Aristotle’s notion of time as “a measure of change with respect to the before and after.” Drawing on Aristotle’s theory that time depends upon a perceiving mind and that those unconscious of change mistakenly “join up the latter ‘now’ to the former and make it one,” this essay argues that Henry succeeds in altering his auditors’ behavior, and thus generating the history he desires, by merging their shared, lived present with his own fictive temporalities. A mode of persuasion famous in its ethical ambivalence, Henry’s rhetoric reveals how the very ontological assumptions governing perceptions of time may be manipulated, for good or ill, amid audiences who fail to critically envisage their own counterbalancing, imaginative histories.
{"title":"Aristotelian Time, Ethics, and the Art of Persuasion in Shakespeare’s Henry V","authors":"Christopher Crosbie","doi":"10.3390/literature3010007","DOIUrl":"https://doi.org/10.3390/literature3010007","url":null,"abstract":"In his response to the Dauphin, his threats before Harfleur’s walls, and his St. Crispin’s Day oration, Henry V deploys what we might call proleptic histories of the present as a means of rhetorical persuasion. Henry invites his audiences, that is, to imagine themselves in the future, understanding the present as part of their own history. Henry’s invocation of an imagined future that understands the present as a theoretical past betrays a surprising indebtedness to Aristotle’s notion of time as “a measure of change with respect to the before and after.” Drawing on Aristotle’s theory that time depends upon a perceiving mind and that those unconscious of change mistakenly “join up the latter ‘now’ to the former and make it one,” this essay argues that Henry succeeds in altering his auditors’ behavior, and thus generating the history he desires, by merging their shared, lived present with his own fictive temporalities. A mode of persuasion famous in its ethical ambivalence, Henry’s rhetoric reveals how the very ontological assumptions governing perceptions of time may be manipulated, for good or ill, amid audiences who fail to critically envisage their own counterbalancing, imaginative histories.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83020161","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}
Pub Date : 2023-01-16DOI: 10.3390/literature3010006
High-quality academic publishing is built on rigorous peer review [...]
高质量的学术出版建立在严格的同行评审的基础上[…]
{"title":"Acknowledgment to the Reviewers of Literature in 2022","authors":"","doi":"10.3390/literature3010006","DOIUrl":"https://doi.org/10.3390/literature3010006","url":null,"abstract":"High-quality academic publishing is built on rigorous peer review [...]","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84298754","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}
Pub Date : 2023-01-09DOI: 10.3390/literature3010005
A. Lovasz
In his main work, Matter and Memory, Henri Bergson presents a panpsychist ontology which cuts through the Gordian knot of the mind vs. matter problem. Taking this age-old philosophical topic, Bergson pushes the dualism of mind and matter beyond breaking point. Matter is reconceived as the sum of all images. Bergson introduces the dual concepts of cosmic “perception” and cosmic “memory”. Matter itself is reinterpreted as a continuum of all possible intensities of perception and memory. Bergson’s ontology has important epistemological ramifications. There is no sharp dividing line between consciousness and matter. In light of these insights, I propose a reading of Bergson’s relatively lesser-known lecture, “‘Phantasms of the Living’ and Psychical Research”, presented at the Society for Psychical Research in 1913. Here, Bergson elaborates upon the implications of his image-ontology for the possible post mortem fate of consciousness. In my concluding remarks, I suggest that Bergson’s observations may be of help in constructing an anti-reductionist and indeterministic epistemology.
{"title":"Henri Bergson’s Haunted Epistemology: Consciousness Unframed","authors":"A. Lovasz","doi":"10.3390/literature3010005","DOIUrl":"https://doi.org/10.3390/literature3010005","url":null,"abstract":"In his main work, Matter and Memory, Henri Bergson presents a panpsychist ontology which cuts through the Gordian knot of the mind vs. matter problem. Taking this age-old philosophical topic, Bergson pushes the dualism of mind and matter beyond breaking point. Matter is reconceived as the sum of all images. Bergson introduces the dual concepts of cosmic “perception” and cosmic “memory”. Matter itself is reinterpreted as a continuum of all possible intensities of perception and memory. Bergson’s ontology has important epistemological ramifications. There is no sharp dividing line between consciousness and matter. In light of these insights, I propose a reading of Bergson’s relatively lesser-known lecture, “‘Phantasms of the Living’ and Psychical Research”, presented at the Society for Psychical Research in 1913. Here, Bergson elaborates upon the implications of his image-ontology for the possible post mortem fate of consciousness. In my concluding remarks, I suggest that Bergson’s observations may be of help in constructing an anti-reductionist and indeterministic epistemology.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82137531","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}
Pub Date : 2023-01-06DOI: 10.3390/literature3010004
Volker Gast, Christian Wehmeier, D. Vanderbeke
While fictional orality (spoken language in fictional texts) has received some attention in the context of quantitative register studies at the interface of linguistics and literature, only a few attempts have been made so far to apply the quantitative methods of register studies to interior monologues (and other forms of inner speech or thought representation). This article presents a case study of the three main characters of James Joyce’s Ulysses whose thoughts are presented extensively in the novel, i.e., Leopold and Molly Bloom and Stephen Dedalus. Making use of quantitative, corpus-based methods, the thoughts of these characters are compared to fictional direct speech and (literary and non-literary) reference texts. We show that the interior monologues of Ulysses span a range of non-narrative registers with varying degrees of informational density and involvement. The thoughts of one character, Leopold Bloom, differ substantially from that character’s speech. The relative heterogeneity across characters is taken as an indication that interior monologue is used as a means of perspective taking and implicit characterization.
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Pub Date : 2023-01-03DOI: 10.3390/literature3010003
J. García
The gothic genre in Latin American literature has been the object of fashionable interest in recent decades and seems to absorb all the elements of the politically correct agenda; however, in the current trend of absolute presentism that seems regular in the critics, it is not taken into account that there exists a previous tradition more or less connected with its European sources but in search of its own cultural character. I would like to comment on some specifically gothic novels published in Argentina between the 1980s and the 1990s, as well as a recent one by the prolific writer César Aira. Prins can be analyzed as an ambiguous culmination of the gothic tendency, as well as a symptom of the disorientation of a genre that threatens to become a label as broad as it is empty.
{"title":"The Misfortunes of a Genre: Prins by César Aira as an Allegory of the Gothic","authors":"J. García","doi":"10.3390/literature3010003","DOIUrl":"https://doi.org/10.3390/literature3010003","url":null,"abstract":"The gothic genre in Latin American literature has been the object of fashionable interest in recent decades and seems to absorb all the elements of the politically correct agenda; however, in the current trend of absolute presentism that seems regular in the critics, it is not taken into account that there exists a previous tradition more or less connected with its European sources but in search of its own cultural character. I would like to comment on some specifically gothic novels published in Argentina between the 1980s and the 1990s, as well as a recent one by the prolific writer César Aira. Prins can be analyzed as an ambiguous culmination of the gothic tendency, as well as a symptom of the disorientation of a genre that threatens to become a label as broad as it is empty.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78399349","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}
Pub Date : 2022-12-20DOI: 10.3390/literature3010002
G. Bevan
Karen Tei Yamashita’s third novel Tropic of Orange (1997), set in Los Angeles and featuring an all-minority cast of characters and extensive use of magical realism, has been commonly received as an indictment of global capitalism. But the present study argues that such an interpretation depends upon foregrounding the most didactic portions of the text, and that engagement with the enacted drama of the novel reveals a more fully developed and equally enduring theme, that of the performative nature of ethnic identity.
{"title":"Performance Appraisal: Reinterpreting Tropic of Orange","authors":"G. Bevan","doi":"10.3390/literature3010002","DOIUrl":"https://doi.org/10.3390/literature3010002","url":null,"abstract":"Karen Tei Yamashita’s third novel Tropic of Orange (1997), set in Los Angeles and featuring an all-minority cast of characters and extensive use of magical realism, has been commonly received as an indictment of global capitalism. But the present study argues that such an interpretation depends upon foregrounding the most didactic portions of the text, and that engagement with the enacted drama of the novel reveals a more fully developed and equally enduring theme, that of the performative nature of ethnic identity.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77520765","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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