In Monika Maron's Flugasche (1981)—the first novel from the GDR to deal with environmental issues—the poisoned atmosphere in the city of B. functions as an affective centre, around which emotions, actions and reactions of the main protagonist as well as of the other characters revolve. The journalist Josefa Nadler falls into the sphere of the environmental catastrophe and is overwhelmed by the atmospheric power of this meaningful situation. The corporeal experience of being exposed to subtle environmental violence, which has devastating consequences for the city of B. and debilitating effects on its inhabitants, evokes feelings such as fear, anger, shame and compassion. Moreover, it develops into a driving force for thoughts, decisions, commitment and resistance against the unfair air distribution, accompanied by a sense of powerlessness. The aim of the article is a re-reading of the novel with a central focus on the largely non-representational, affective and meteorological elemental spacetimes, which can not only be felt or bodily experienced but also designed or engineered in order to produce a certain time-bound structure of feeling, for example, an oppressive climate of fear.
{"title":"Aerial withdrawal: An atmospheric reading of Monika Maron's Flugasche","authors":"Monika Szczepaniak","doi":"10.1111/oli.12433","DOIUrl":"https://doi.org/10.1111/oli.12433","url":null,"abstract":"In Monika Maron's <i>Flugasche</i> (1981)—the first novel from the GDR to deal with environmental issues—the poisoned atmosphere in the city of B. functions as an affective centre, around which emotions, actions and reactions of the main protagonist as well as of the other characters revolve. The journalist Josefa Nadler falls into the sphere of the environmental catastrophe and is overwhelmed by the atmospheric power of this meaningful situation. The corporeal experience of being exposed to subtle environmental violence, which has devastating consequences for the city of B. and debilitating effects on its inhabitants, evokes feelings such as fear, anger, shame and compassion. Moreover, it develops into a driving force for thoughts, decisions, commitment and resistance against the unfair air distribution, accompanied by a sense of powerlessness. The aim of the article is a re-reading of the novel with a central focus on the largely non-representational, affective and meteorological elemental spacetimes, which can not only be felt or bodily experienced but also designed or engineered in order to produce a certain time-bound structure of feeling, for example, an oppressive climate of fear.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138823570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract When we think of a person engaged in the act of reading literary fiction, the mental image that readily comes to mind is one of focused concentration. In our current information age, such a form of reading seems especially necessary, and often lacking. This causes a change in how we read, often described in terms of close reading versus hyperreading. Literary reading is typically associated with the former; screen‐based reading of information texts with the latter. Accounts of attention and distraction in reading research are often informed by a binary way of thinking. Literary reading, while often aligned with close reading, also involves selection, strategic allocation of attention informed by textual cues, condensation, and mind‐wandering. It never occurs in a state of continuous attention: we combine different modes, triggered by both textual and readerly characteristics. A challenge for literary studies in the present media landscape is to determine more precisely when readers read with close attention and when they skim, or what they skip. This article presents a theoretical contribution to studies of literary reading in the form of a literature review and a framework for attentional modulation. Education might benefit from a more sophisticated concept of such attentional modulations.
{"title":"Attentional modulation in literary reading: A theoretical‐empirical framework","authors":"Inge van de Ven","doi":"10.1111/oli.12431","DOIUrl":"https://doi.org/10.1111/oli.12431","url":null,"abstract":"Abstract When we think of a person engaged in the act of reading literary fiction, the mental image that readily comes to mind is one of focused concentration. In our current information age, such a form of reading seems especially necessary, and often lacking. This causes a change in how we read, often described in terms of close reading versus hyperreading. Literary reading is typically associated with the former; screen‐based reading of information texts with the latter. Accounts of attention and distraction in reading research are often informed by a binary way of thinking. Literary reading, while often aligned with close reading, also involves selection, strategic allocation of attention informed by textual cues, condensation, and mind‐wandering. It never occurs in a state of continuous attention: we combine different modes, triggered by both textual and readerly characteristics. A challenge for literary studies in the present media landscape is to determine more precisely when readers read with close attention and when they skim, or what they skip. This article presents a theoretical contribution to studies of literary reading in the form of a literature review and a framework for attentional modulation. Education might benefit from a more sophisticated concept of such attentional modulations.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135291057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Zusammenfassung Der Beitrag schlägt einen neuen Blick auf den Roman Himmel, der nirgendwo endet (1966) der österreichischen Autorin Marlen Haushofer vor, indem eine Neurodiversitätsperspektive eingenommen wird. Die im Vergleich zur Norm alternative sowie höchst intensive Erfahrung der Hauptfigur Meta wird von einer Hypersensitivität charakterisiert, die eine Hyperempathie für Lebewesen und sogar unlebendige Objekte auslöst. Der literarische Text trägt zu einem neuen Verständnis der gelebten Erfahrung von Neurodiversität im Gegensatz zu pathologischen Interpretationen bei, die von medizinischen oder sozialen Behinderungsmodellen aufgeführt werden, und macht kognitive Differenzen wie Hypersensitivität und Hyperempathie den Leser*innen zugänglich. Die literarische Darstellung dieser Differenz gelingt über die Naturerfahrung der Hauptfigur, wobei die Natur deren körperliche und mentale Zustände metaphorisch veranschaulicht.
{"title":"„Feurige Blitze in ihrem Kopf“: Hypersensitivität als Empathie in Marlen Haushofers <i>Himmel, der nirgendwo endet</i>","authors":"Liselotte Van der Gucht","doi":"10.1111/oli.12428","DOIUrl":"https://doi.org/10.1111/oli.12428","url":null,"abstract":"Zusammenfassung Der Beitrag schlägt einen neuen Blick auf den Roman Himmel, der nirgendwo endet (1966) der österreichischen Autorin Marlen Haushofer vor, indem eine Neurodiversitätsperspektive eingenommen wird. Die im Vergleich zur Norm alternative sowie höchst intensive Erfahrung der Hauptfigur Meta wird von einer Hypersensitivität charakterisiert, die eine Hyperempathie für Lebewesen und sogar unlebendige Objekte auslöst. Der literarische Text trägt zu einem neuen Verständnis der gelebten Erfahrung von Neurodiversität im Gegensatz zu pathologischen Interpretationen bei, die von medizinischen oder sozialen Behinderungsmodellen aufgeführt werden, und macht kognitive Differenzen wie Hypersensitivität und Hyperempathie den Leser*innen zugänglich. Die literarische Darstellung dieser Differenz gelingt über die Naturerfahrung der Hauptfigur, wobei die Natur deren körperliche und mentale Zustände metaphorisch veranschaulicht.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135291828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Orbis LitterarumEarly View BOOK REVIEW Borges, Buddhism and world literature: A morphology of Renunciation talesBy Dominique Jullien, Cham: Palgrave Macmillan. 2019. pp. 149. £44.99 (hardback). ISBN: 978-3-030-04717-7 Arthur Rose, Corresponding Author Arthur Rose [email protected] University of Exeter, Exeter, UKSearch for more papers by this author Arthur Rose, Corresponding Author Arthur Rose [email protected] University of Exeter, Exeter, UKSearch for more papers by this author First published: 24 October 2023 https://doi.org/10.1111/oli.12429Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Early ViewOnline Version of Record before inclusion in an issue RelatedInformation
博尔赫斯、佛教与世界文学:一种弃俗故事的形态，多米尼克·于连著，上海:帕尔格雷夫·麦克米伦出版社，2019。149页。£44.99(精装)。ISBN: 978-3-030-04717-7 Arthur Rose，通讯作者Arthur Rose [email protected]英国埃克塞特大学(University of Exeter)搜索本文作者Arthur Rose的更多论文[email protected]英国埃克塞特大学(University of Exeter)搜索本文作者的更多论文首次发表:2023年10月24日https://doi.org/10.1111/oli.12429Read全文taboutpdf ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare给予accessShare全文accessShare全文accessShare请查看我们的使用条款和条件，并勾选下面的复选框共享文章的全文版本。我已经阅读并接受了Wiley在线图书馆使用共享链接的条款和条件，请使用下面的链接与您的朋友和同事分享本文的全文版本。学习更多的知识。复制URL共享链接共享一个emailfacebooktwitterlinkedinreddit微信本文无摘要在包含问题之前的早期视图在线记录版本相关信息
{"title":"Borges, Buddhism and world literature: A morphology of Renunciation talesBy DominiqueJullien, Cham: Palgrave Macmillan. 2019. pp. 149. £44.99 (hardback). ISBN: 978‐3‐030‐04717‐7","authors":"Arthur Rose","doi":"10.1111/oli.12429","DOIUrl":"https://doi.org/10.1111/oli.12429","url":null,"abstract":"Orbis LitterarumEarly View BOOK REVIEW Borges, Buddhism and world literature: A morphology of Renunciation talesBy Dominique Jullien, Cham: Palgrave Macmillan. 2019. pp. 149. £44.99 (hardback). ISBN: 978-3-030-04717-7 Arthur Rose, Corresponding Author Arthur Rose [email protected] University of Exeter, Exeter, UKSearch for more papers by this author Arthur Rose, Corresponding Author Arthur Rose [email protected] University of Exeter, Exeter, UKSearch for more papers by this author First published: 24 October 2023 https://doi.org/10.1111/oli.12429Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Early ViewOnline Version of Record before inclusion in an issue RelatedInformation","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135316356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When world literature mounted to the top of the agenda in literary studies a few decades ago as a revived and revised take on the synthesis of literary history, literary analysis and literary theory, all important publications in this expanding field had to conceptualise and reconceptualise world literature in order to promote it as an ongoing innovative rethinking of the function of literature, of the aim of literary studies and of the criteria for the selection of material to be included as world literature. One of the many strengths of this endeavour was its acceptance without regret of being non-exhaustive. Instead, through striking examples it forced readers to rethink what literature and literary studies is about in the twenty-first century, not least a reconsideration of the past. Since the pioneering days a more complacent conceptualisation and practice of world literature studies have also come about. One such trend is the descriptive mapping of literatures across the world with no or only limited conceptual ambitions, but with the otherwise laudable aim of relativising cultural hegemonies beyond traditional centre/periphery models, Eurocentrism in particular; another is the attempt to use world literature as a catch-word to secure a visible or, even better, prominent place for the regional/national/local literature of one's own on the world map of literatures. With the ecumenical aim of opening a space of borderless global literary circulation unfettered by cultural frictions and hegemonies, the first trend risks ignoring the fact that cultural power relations continue to transmutate into new forms and move to new locations, even if some of the existing ones are relativised; the second approach tends, implicitly or explicitly, to implement literature as a tool for perpetuating cultural hegemonies, just replacing others like Eurocentrism and moving them closer to home. Weigui Fang's chapter presents the Chinese approach to world literature as a case in point. Insisting on returning to the foundational ambition of a synthesis of theory, history and analysis, the present volume is a much welcomed debate and exemplification of the continued relevance of this synthesis, each article taking one dimension as its prevalent point of departure for embracing more or less all three dimensions. The transversal focus across the three sections and eleven chapters is the complex role of languages in a world literature perspective. The term ‘language’ is taken in a very broad meaning, maybe too broad and in some need of explication. Without discussion it seems to cover the discourse of literary texts, the notions and terms used in the discourse about literary texts, and the transverbal interaction between cultures and between humans and the non-human environment. I would have preferred the term ‘interaction’ in the way it is used in the astute analysis in the editor's Coda, which unfolds the use of ‘circulation’ in discourses about world literature. Thi
几十年前，当世界文学登上文学研究议程的首位，作为一种复兴和修订的文学历史，文学分析和文学理论的综合，这个不断扩大的领域的所有重要出版物都必须对世界文学进行概念化和重新概念化，以促进它作为对文学功能的持续创新的重新思考，文学研究的目的和选择世界文学材料的标准。这一努力的众多优点之一是，它毫无遗憾地接受了不详尽的工作。相反，它通过引人注目的例子迫使读者重新思考21世纪的文学和文学研究是什么，不仅仅是对过去的重新思考。自开创期以来，世界文学研究也出现了一种更为自满的观念和实践。其中一个趋势是对世界各地的文学进行描述性的描绘，没有或只有有限的概念野心，但有一个值得称赞的目标，即超越传统的中心/边缘模式，特别是欧洲中心主义，使文化霸权相对化;另一种是试图将世界文学作为一个流行语，以确保自己的地区/国家/地方文学在世界文学地图上有一个可见的，甚至更好的，突出的位置。以开放一个不受文化摩擦和霸权束缚的无国界全球文学流通空间为普世目标，第一种趋势有可能忽视这样一个事实，即文化权力关系继续转化为新的形式，并向新的地点移动，即使一些现有的形式是相对的;第二种方法倾向于或隐或明地将文学作为延续文化霸权的工具，只是取代欧洲中心主义等其他文化霸权，并使其更接近本土。方卫贵的这一章以中国对世界文学的研究为例。坚持回到理论，历史和分析的综合的基本野心，目前的卷是一个非常受欢迎的辩论和例证，这种综合的持续相关性，每篇文章采取一个维度作为其普遍的出发点，拥抱或多或少所有三个维度。横跨三节十一章的横向焦点是语言在世界文学视野中的复杂作用。“语言”这个词的含义非常宽泛，可能太宽泛了，需要解释一下。如果不进行讨论，它似乎涵盖了文学文本的话语，文学文本话语中使用的概念和术语，以及文化之间和人类与非人类环境之间的跨语互动。我更喜欢“互动”这个词，在编辑的结语中，它在敏锐的分析中被使用，它揭示了“循环”在世界文学话语中的使用。最后一章是对一种毫无根据的观点的精确批评，这种观点认为世界文学是通过文学实现无摩擦的全球文化透明度的准同义词，忽视了地方文化之间和内部的冲突。这种观点，在结语中从理论的角度出发，建立在萨拉-路易斯·库珀对玛丽斯·康德的《欲望》的文本分析的章节中，而尤利娅·伊万诺娃对语言普遍主义的危险的详细描述，因为它在欧洲文艺复兴时期出现，与拉丁语有关，例证了一个历史起点。将其称为互动或语言，有几章确实通过不同程度的理论反思，文本分析和历史基础，及时和刺激地讨论了世界文学中的语言或关于世界文学的语言，强调了语言的复杂混合，它们的杂糅，它们的并列，它们的可译性和它们的冲突，作为世界文学和世界文学研究的基本和文化特定现实，超越了任何全球一致性的信念。这种不可能恰恰塑造了世界文学的复杂性和相关性(David Damrosch, Christian Moser, Ghazouane Arslane, csamar Dominguez, Pavel Sokolov)。弗洛里安·穆西格关于人类世中人类与环境相互作用的那一章，我认为，可以从生物符号学及其对符号理论的理解中获益，而不是在这一章中对语言和翻译的参考。但正如作者的调查文章所指出的，这是一个寻找自我的年轻领域。 在结尾处之前的最后一章，杰里米·阿德勒发人深省的一章讲的是从普遍的文学诗学到人类学定义的文化特定文学的地方框架的转变，这一转变最决定性地发生在欧洲启蒙运动时期，这是一个令人信服的论点，证明文学的文化特殊性和法律话语之间存在全球联系，正如《人权宣言》及其在包括联合国在内的世界各地司法机构中的各种法律表现形式所体现的那样。这个结局引出了加林·季哈诺夫(Galin Tihanov)的《结尾》(Coda)，并在其他文章中得到了呼应。这本书令人振奋地提醒人们，世界文学是作家和学者都在追求的一项必要的、持续的实验。
{"title":"Universal localities: The languages of world literature. GalinTihanov (Ed.), Stuttgart: J. B. Metzler. 2022. 252 pp.","authors":"Svend Erik Larsen","doi":"10.1111/oli.12427","DOIUrl":"https://doi.org/10.1111/oli.12427","url":null,"abstract":"When world literature mounted to the top of the agenda in literary studies a few decades ago as a revived and revised take on the synthesis of literary history, literary analysis and literary theory, all important publications in this expanding field had to conceptualise and reconceptualise world literature in order to promote it as an ongoing innovative rethinking of the function of literature, of the aim of literary studies and of the criteria for the selection of material to be included as world literature. One of the many strengths of this endeavour was its acceptance without regret of being non-exhaustive. Instead, through striking examples it forced readers to rethink what literature and literary studies is about in the twenty-first century, not least a reconsideration of the past. Since the pioneering days a more complacent conceptualisation and practice of world literature studies have also come about. One such trend is the descriptive mapping of literatures across the world with no or only limited conceptual ambitions, but with the otherwise laudable aim of relativising cultural hegemonies beyond traditional centre/periphery models, Eurocentrism in particular; another is the attempt to use world literature as a catch-word to secure a visible or, even better, prominent place for the regional/national/local literature of one's own on the world map of literatures. With the ecumenical aim of opening a space of borderless global literary circulation unfettered by cultural frictions and hegemonies, the first trend risks ignoring the fact that cultural power relations continue to transmutate into new forms and move to new locations, even if some of the existing ones are relativised; the second approach tends, implicitly or explicitly, to implement literature as a tool for perpetuating cultural hegemonies, just replacing others like Eurocentrism and moving them closer to home. Weigui Fang's chapter presents the Chinese approach to world literature as a case in point. Insisting on returning to the foundational ambition of a synthesis of theory, history and analysis, the present volume is a much welcomed debate and exemplification of the continued relevance of this synthesis, each article taking one dimension as its prevalent point of departure for embracing more or less all three dimensions. The transversal focus across the three sections and eleven chapters is the complex role of languages in a world literature perspective. The term ‘language’ is taken in a very broad meaning, maybe too broad and in some need of explication. Without discussion it seems to cover the discourse of literary texts, the notions and terms used in the discourse about literary texts, and the transverbal interaction between cultures and between humans and the non-human environment. I would have preferred the term ‘interaction’ in the way it is used in the astute analysis in the editor's Coda, which unfolds the use of ‘circulation’ in discourses about world literature. Thi","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135481715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Referring to recent discussions on the challenges the concept of the Anthropocene poses for humanities and literary representation, this article investigates N. K. Jemisin's Broken Earth trilogy as a narrative that addresses the crisis of imagination, in particular with respect to memory. Examining the tensions between individual, collective, and planetary memory, I read Jemisin's novels as an attempt to direct attention to the systemic exploitation of both marginalized minorities and the environment as a key ethical problem of the Anthropocene, which necessitates rethinking the relationship between humanity, climate change, and the planet in the face of the forthcoming crisis.
{"title":"A look‐back from the future: Anthropogenic crisis and memory in N. K. Jemisin's Broken Earth trilogy","authors":"Sylwia Borowska‐Szerszun","doi":"10.1111/oli.12424","DOIUrl":"https://doi.org/10.1111/oli.12424","url":null,"abstract":"Abstract Referring to recent discussions on the challenges the concept of the Anthropocene poses for humanities and literary representation, this article investigates N. K. Jemisin's Broken Earth trilogy as a narrative that addresses the crisis of imagination, in particular with respect to memory. Examining the tensions between individual, collective, and planetary memory, I read Jemisin's novels as an attempt to direct attention to the systemic exploitation of both marginalized minorities and the environment as a key ethical problem of the Anthropocene, which necessitates rethinking the relationship between humanity, climate change, and the planet in the face of the forthcoming crisis.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136060273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Paul Auster's 4321 is on the surface organized around a multiplication of one's life story. This essay argues that the kind of textual multiplication developed in the novel can also be linked with an essential need to express the depth and breadth of the political. Looking at three forms of expression—journalism, film, and poetry—it analyzes their functions in creating openings into a public realm departing from normative conceptions of collectivity and identification, which then leads to a rethinking of the common through the multiplicities of experience.
{"title":"“Order and adventure”: The political in Paul Auster's <i>4321</i>","authors":"Meiping Zhang","doi":"10.1111/oli.12426","DOIUrl":"https://doi.org/10.1111/oli.12426","url":null,"abstract":"Abstract Paul Auster's 4321 is on the surface organized around a multiplication of one's life story. This essay argues that the kind of textual multiplication developed in the novel can also be linked with an essential need to express the depth and breadth of the political. Looking at three forms of expression—journalism, film, and poetry—it analyzes their functions in creating openings into a public realm departing from normative conceptions of collectivity and identification, which then leads to a rethinking of the common through the multiplicities of experience.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135152308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Fictional texts have long functioned as a testing ground for new impulses in society. At the turn of the twentieth century many German feminists were demanding greater influence for women in public life not despite but because of their role as mothers. At the same time writers, scientists and activists from across the political spectrum were fascinated by eugenics, seeing this new ‘science’ as the answer to many social ills. Hopes and remedies for the ‘new generation’, formed within the paradigm of evolutionary biology and a growing faith in science, were thus the focus of much public discourse and the impetus for a range of well‐documented social movements. These ideas were also shaping a new direction for prominent women writers of the day, such as Ilse Frapan and Clara Viebig. Here I examine two novels which exemplify the trend and consider the extent of these writers' involvement with the circles of influence which were helping to spread eugenic ideas in the German‐speaking world around 1900.
{"title":"New motherhood and eugenics in German women's political and popular fiction around 1900","authors":"Caroline Bland","doi":"10.1111/oli.12420","DOIUrl":"https://doi.org/10.1111/oli.12420","url":null,"abstract":"Abstract Fictional texts have long functioned as a testing ground for new impulses in society. At the turn of the twentieth century many German feminists were demanding greater influence for women in public life not despite but because of their role as mothers. At the same time writers, scientists and activists from across the political spectrum were fascinated by eugenics, seeing this new ‘science’ as the answer to many social ills. Hopes and remedies for the ‘new generation’, formed within the paradigm of evolutionary biology and a growing faith in science, were thus the focus of much public discourse and the impetus for a range of well‐documented social movements. These ideas were also shaping a new direction for prominent women writers of the day, such as Ilse Frapan and Clara Viebig. Here I examine two novels which exemplify the trend and consider the extent of these writers' involvement with the circles of influence which were helping to spread eugenic ideas in the German‐speaking world around 1900.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135831128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Tom Stoppard's The Invention of Love (1997) offers the audience a dream‐like voyage through the post‐mortem reminiscences of the central character, A. E. Housman. The attempt to resurrect Housman, as the historical figure in real life, is suspended by the intertextual incorporation of Housman's poems, the both fictive and enigmatically private voice of which opens up the illusory closure of biographically accurate dramatic characterisation. By fluidising and activating the subversive emotions contained in the formal patterns of the poetic text, the intermedial stage with the corporeality of its theatrical embodiment becomes a spatialised metaphor for the poetry as an open space that is inviting meaning to be projected onto it. The poetic and the theatrical, thus deterritorialised by their intermedial exchanges, interlace a dreamscape in which the nomadic search for the uncorrupted, unappropriated poet/poem continuum provides a transcendental empiricist reading of the ‘truth’ about Housman.
{"title":"Poet as poem: The intermedial staging of A. E. Housman in Tom Stoppard's <i>The Invention of Love</i>","authors":"Huayu Yang, Bowen Wang","doi":"10.1111/oli.12425","DOIUrl":"https://doi.org/10.1111/oli.12425","url":null,"abstract":"Abstract Tom Stoppard's The Invention of Love (1997) offers the audience a dream‐like voyage through the post‐mortem reminiscences of the central character, A. E. Housman. The attempt to resurrect Housman, as the historical figure in real life, is suspended by the intertextual incorporation of Housman's poems, the both fictive and enigmatically private voice of which opens up the illusory closure of biographically accurate dramatic characterisation. By fluidising and activating the subversive emotions contained in the formal patterns of the poetic text, the intermedial stage with the corporeality of its theatrical embodiment becomes a spatialised metaphor for the poetry as an open space that is inviting meaning to be projected onto it. The poetic and the theatrical, thus deterritorialised by their intermedial exchanges, interlace a dreamscape in which the nomadic search for the uncorrupted, unappropriated poet/poem continuum provides a transcendental empiricist reading of the ‘truth’ about Housman.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135885581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Molière's celebrated Le misanthrope, the spectator is witness to an immensely funny, albeit profound staging of the limits of rationality. The comedy exhibits how an idealist idea of the pure sovereignty of reason is ridiculous, self‐contradictory, and mad, since the distinction between ideality and reality, the universal and the particular, the social and the individual, is ignored or even dissolved. The comic art of literature steps forth as a joyous purging and corrective of the highly seductive, but essentially delusional appeals from philosophy and idealism to absolutize reason and thus render oneself sovereign. A totalized reason that nonetheless cancels itself and becomes madness.
{"title":"The madness of unrestrained reason: Reason and madness in Molière's Le misanthrope","authors":"Benjamin Boysen","doi":"10.1111/oli.12410","DOIUrl":"https://doi.org/10.1111/oli.12410","url":null,"abstract":"In Molière's celebrated Le misanthrope, the spectator is witness to an immensely funny, albeit profound staging of the limits of rationality. The comedy exhibits how an idealist idea of the pure sovereignty of reason is ridiculous, self‐contradictory, and mad, since the distinction between ideality and reality, the universal and the particular, the social and the individual, is ignored or even dissolved. The comic art of literature steps forth as a joyous purging and corrective of the highly seductive, but essentially delusional appeals from philosophy and idealism to absolutize reason and thus render oneself sovereign. A totalized reason that nonetheless cancels itself and becomes madness.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47341947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：