Pub Date : 2022-07-23DOI: 10.1080/00144940.2022.2100239
Joon-Won Park, Eric Weiskott
Abstract Among the English words first recorded in William Langland’s Piers Plowman is araten “reprove.” This new, or newly literary, word encapsulates a peculiar quality of Piers Plowman, its cyclical depiction of verbal combat between opponents with unequal cultural authority. The word araten is perfect for Piers Plowman and plausibly was coined to purpose. This note suggests that araten cuts both ways in Piers Plowman’s multilayered analysis of class, and more broadly that visions of reproof with their political, social, literary, and theological implications were a central form through which Langland extended the A text into the B and C versions.
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Pub Date : 2022-07-14DOI: 10.1080/00144940.2022.2100238
Cicero Bruce
“Stop all the clocks” (also known as “Funeral Blues”) is an enduring short poem of four quatrains that resists facile interpretations. Its first two stanzas originally appeared (on pages 116-17) in The Ascent of F6, a play written in collaboration with Christopher Isherwood. Discussed here with reference to his Collected Poems, in which it appears (on page 120) as number IX under the title “Twelve Songs,” the poem is typical of W. H. Auden’s early verse: its first half having been severed from its original context as mere dialogue in a play, the poem’s meaning is seemingly ambiguous. In the context of Auden’s moral vision, however, the poem is decidedly religious, and its organizing theme is essentially love, understood in a particularly spiritual or philosophical sense. Much of the rhetoric inhering in the language of “Stop all the clocks” is of a Christian tenor that is both conventional and not. Take the speaker’s proclamations in the third stanza, for instance; they do no doubt connote something of a ubiquitously, if unconventionally described, divine presence: “He was my North, my South, my East and West/My working week and my Sunday rest.” The departed was the speaker’s very grounding in space and time, as God is the ontological essence in which Christians believe themselves to live, move, and have their being. The imagery is clear: he who has died organized the speaker’s cosmos as God ordered the universe with the six-day creation of heaven and earth and consecration of the Sabbath; the deceased was the speaker’s very substance of existence, as Christ, Son of God, is understood in Christology to be the blood of life. Readers familiar with Auden’s life and work will certainly concede that such a reading is plausible, for they are aware that four years after the poem’s publication in 1936 Auden returned to the Church of England through the Episcopal equivalent in America where he and Isherwood, seen off from London by E. M. Forster, immigrated in 1939. If we read the lines as religious expression, as Auden invites us to do with his decision to republish them as a freestanding poem separated from and without reference to The Ascent of https://doi.org/10.1080/00144940.2022.2100238
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Pub Date : 2022-05-30DOI: 10.1080/00144940.2022.2080524
S. Sekar
Abstract Are the stories of the subaltern just as important as those of our national heroes and leaders, who are considered architects of our nation? How does one define the subaltern? What is the Subaltern Studies project? Does the charge of elitism in the historiography of Indian nationalism hold water? How does the Ibis Trilogy by Amitav Ghosh tackle these issues surrounding the subaltern and their representation in our national history? How does he redefine the nation for us through a multidimensional perspective? What are the historical strategies employed by Ghosh, to this end?
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Pub Date : 2022-05-28DOI: 10.1080/00144940.2022.2080519
Xiaoli Li
Edgar Allan Poe says in the first sentence that “it does not permit itself to be read,” to build a myth in “The Man of the Crowd,” which refuses to be decoded. Compared with the plot, the story is more structurally attractive to readers. Accordingly, much formalistic efforts have been made in examining the narrative strategies of the story, such as “‘ambiguity’, ‘irony’, ‘doubleness,’ and ‘unreliability’” (Cananau 242). As Iulian Cananau observes, “[a] more recent formalist inquiry, inspired by poststructuralism and genre criticism, reads ‘The Man of the Crowd’ not against the socio-cultural context, but against a ‘literary’ one that consists of the broader framework of Gothic fiction and a representative selection of Poe’s other canonical short stories” (242). This inquiry, applied in analyzing the reading process of the reader, can be extended to the “reading process” of the narrator who follows the old man for a long time and yet fails to figure out the old man’s secret, which might lead to the conclusion that Poe, by exhibiting the futility of pursuing meaning, turns the short story into a symbol of empty subjectivity. However, it will be a more enlightening effort when we pay attention to the narrator’s keen interest in following the old man, which structurally shapes the short story into a double-layered pursuit. It exhibits Poe’s textual endeavor to portray the theme of the story: emptiness in subjectivity, one of the heated topics of Lacanian theory, which, in probing the relationship between language and identity, exhibits diversified textual features among different literary works. For example, in the interpretation of “The Love Song of J. Alfred Prufrock,” Pyeaam Abbasi argues that Prufrock’s failure to become a “speaking subject” in the symbolic order of language leads to a “neurotic” Prufrock (118). To some extent, Lacanian theory is so deconstructive that the gap between the symbolic order and imaginative order cannot be bridged even for a speaking subject. Accordingly, when we take the narrator as a speaking subject in “The Man of the Crowd,” the short https://doi.org/10.1080/00144940.2022.2080519
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Pub Date : 2022-05-28DOI: 10.1080/00144940.2022.2080523
Huiwen Shi
Abstract In addition to linguistic and cultural mediations, Seamus Heaney’s work also situates itself between life and death. Often his poetry is perceived as elegiac, with the loss of rural life and agricultural crafts, the end of innocence and childhood, memories of late family members, and the deaths in the conflicts in Northern Ireland, all becoming subjects of his mourning. This paper examines Heaney’s unique treatment of a nonhuman death in “Widgeon”, one of his shortest and least examined poems. In this poem, the dead body is exposed, and its voice takes over the human elegiac cry. Importantly, the poem raises the ethical question of the living misreading the dead in elegy. Failing to reach consolation, it arrives at an unexpected irresolution, unresting the dead as well as arresting the living.
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Pub Date : 2022-05-27DOI: 10.1080/00144940.2022.2080520
Sunggyung Jo
In William Faulkner’s Absalom, Absalom!, an older Thomas Sutpen asks himself, “[w]here did I make the mistake in [the past], what did I do or misdo in it”? (212). Sutpen’s “mistake” or “misdeed” throughout his life is connected with his role as a reader—of books and, more broadly, of the world around him. In this essay, I conceptualize Sutpen’s failed and subjective interpretations as misreadings—so as to account for both his literal acts of reading texts, and his metaphoric acts of reading and of interpreting the actual world. Sutpen’s overall failure to create his ideal genealogy is associated with his limited hermeneutic capacity to process and interpret both actual texts and the past. Let me begin with a scene involving Thomas Sutpen’s initial reading practices when still in school: here, let me propose a genealogy of misreading originating in Sutpen’s own initial misreading of a book as a child. In Chapter 7, Quentin narrates stories about Sutpen’s childhood which he had heard from his grandfather General Compson (Quentin’s grandfather and Sutpen’s only friend in Jefferson). Here, Sutpen describes to General Compson the time when he had attended school for a short period, after having descended from the mountains where he had been born and bred. According to Quentin, young Sutpen, who at the time lacked any experience and knowledge of society, had no resources other than the books his teacher read to students: “So I listened when he [the teacher] would read to us... whatever the reason, he read to us and I anyway listened, though I did not know that in that listening I was equipping myself better for what I should later design to do than if I had learned all the addition and subtraction in the book” (Faulkner 195). In this passage about Sutpen’s initial reading act, Sutpen hears stories about the West Indies, “a place called the West Indies to which poor men went in ships and became rich” (195), and the opportunities for economic success, a story to which he will return for his own “design.” As it turns out, Sutpen does indeed decide to go to the West Indies, “remember[ing] what [the teacher] had read” (196), and then becomes a very successful man, just as the story had promised. In this scene, reading is an act of listening to someone else reading a book aloud (“I listened when he [the teacher] would https://doi.org/10.1080/00144940.2022.2080520
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Pub Date : 2022-05-27DOI: 10.1080/00144940.2022.2080521
Jan-Boje Frauen
A most peculiar claim about George Orwell’s Nineteen Eighty-Four (1949) can be found in the non-fictional part of a commissioned book on Orwell by his fellow novelist Anthony Burgess: “Somebody in 1949 told me [...] that Orwell had wanted to call it Nineteen Forty-Eight. But they wouldn’t let him” (Burgess and Biswell 10). One naturally tends to take this claim as merely one more indication that Nineteen Eighty-Four is a twisted satire of Orwell’s present, rather than a serious vision of a future to come. After all, one seems to be encouraged not to take the statement too seriously by Burgess’s vagueness about his source of information (“somebody told me”) and it is widely known that the novel’s working title was The Last Man in Europe, not Nineteen Forty-Eight. However, the main reason why one disregards the possibility is that it just does not seem to make much sense. Yes, England’s postwar, Labor forties might have been miserable, as Burgess shows in great detail, but they sure were nothing like the totalitarian nightmare of “Oceania” and “Ingsoc” (English Socialism) that Orwell’s protagonist Winston Smith has to endure. However, an argument in support of Burgess’s strange claim can perhaps be made by employing The Theory and Practice of Oligarchical Collectivism, “the book” within the book that displays the political dynamics and history of Winston’s world. The attentive reader quickly notices that the history described in “the book” does not seem to match ours. Meant here are not events that happened after 1948, when Orwell wrote Nineteen Eighty-Four. More importantly, events leading up to 1948 do not seem to match our timeline either. The most striking discrepancy is perhaps that the Second World War, the event that defined today’s geo-political reality like no other and should have been on Orwell’s mind like no other event when he wrote Nineteen Eighty-Four shortly after the war, is nowhere mentioned in “the book.” Instead, Winston learns that “by the fourth decade of the twentieth century all the main currents of political thought were authoritarian” (Orwell, Nineteen Eighty-Four 184). Instead of fighting a global war, the authoritarian regimes https://doi.org/10.1080/00144940.2022.2080521
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Pub Date : 2022-05-25DOI: 10.1080/00144940.2022.2080522
Bowen Wang
Abstract Between 1919 and 1930, Mina Loy created a series of pictorial and poetic portraits of her artistic contemporaries: from pen-ink sketches such as Constantin Brancusi, Carl Van Vechten, Jules Pascin, Marianne Moore, to linguistically innovative verses like “‘Joyce’s Ulysses,” “Gertrude Stein,” “Nancy Cunard,” and a note “William Carlos Williams.” In interacting with avant-gardists of her time, Loy explored new patterns of expression as an alternative to literary and cultural conventions. This paper will thus investigate the use of readymade words in two of Loy’s artist-portrait poems depicting Gertrude Stein and James Joyce. Her verbal portraits do not merely offer the reader a poetic profile of modernist artists and their formal experimentation. It will be demonstrated at the end of this paper that, by treating the word as readymade, Loy and her portrayed writers are able to articulate a different form of language that is more fluid, plastic, and performative.
1919年至1930年间，米娜·洛伊(Mina Loy)创作了一系列与她同时代的艺术人物的绘画和诗歌肖像:从康斯坦丁·布朗库西(Constantin Brancusi)、卡尔·范·韦彻滕(Carl Van Vechten)、朱尔斯·帕斯金(Jules Pascin)、玛丽安·摩尔(Marianne Moore)等笔画素描，到语言创新的诗句，如“乔伊斯的尤利西斯”、“格特鲁德·斯坦”、“南希·库纳德”和“威廉·卡洛斯·威廉姆斯”。在与她那个时代的先锋派的互动中，洛伊探索了新的表达模式，作为文学和文化习俗的替代。因此，本文将研究洛伊的两首艺术家肖像诗中现成词语的使用，这些诗描绘了格特鲁德·斯坦和詹姆斯·乔伊斯。她的文字肖像不仅为读者提供了现代主义艺术家及其形式实验的诗意侧面。在本文的最后，我们将证明，通过将单词视为现成的，洛伊和她所描绘的作家能够清晰地表达出一种不同的语言形式，这种语言形式更具流动性、可塑性和表现性。
{"title":"Words as Readymade: Mina Loy’s Verbal Portraiture of “Gertrude Stein” and “Joyce’s Ulysses”","authors":"Bowen Wang","doi":"10.1080/00144940.2022.2080522","DOIUrl":"https://doi.org/10.1080/00144940.2022.2080522","url":null,"abstract":"Abstract Between 1919 and 1930, Mina Loy created a series of pictorial and poetic portraits of her artistic contemporaries: from pen-ink sketches such as Constantin Brancusi, Carl Van Vechten, Jules Pascin, Marianne Moore, to linguistically innovative verses like “‘Joyce’s Ulysses,” “Gertrude Stein,” “Nancy Cunard,” and a note “William Carlos Williams.” In interacting with avant-gardists of her time, Loy explored new patterns of expression as an alternative to literary and cultural conventions. This paper will thus investigate the use of readymade words in two of Loy’s artist-portrait poems depicting Gertrude Stein and James Joyce. Her verbal portraits do not merely offer the reader a poetic profile of modernist artists and their formal experimentation. It will be demonstrated at the end of this paper that, by treating the word as readymade, Loy and her portrayed writers are able to articulate a different form of language that is more fluid, plastic, and performative.","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"80 1","pages":"53 - 59"},"PeriodicalIF":0.1,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42667331","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}
Christy Chong, David Campbell, Meghan Elliott, Fariba Aghajafari, Paul Ronksley
Purpose: Acute care use is high among individuals with chronic kidney disease (CKD). It is unclear how relational continuity of primary care influences downstream acute care use. We aimed to determine if poor continuity of care is associated with greater rates of acute care use and decreased prescriptions for guideline-recommended drugs.
Methods: We conducted a population-based retrospective cohort study of adults with stage 3-4 CKD and ≥3 visits to a primary care clinician during the period April 1, 2011 to March 31, 2014 in Alberta, Canada. Continuity was calculated using the Usual Provider Continuity index. Descriptive statistics were used to summarize patient and acute care encounter characteristics. Adjusted rates and incidence rate ratios for all-cause and CKD-related ambulatory care-sensitive condition (ACSC) hospitalizations and emergency department (ED) visits were estimated using negative binomial regression. Adjusted odds ratios for prescription use were estimated by multivariable logistic regression.
Results: Among 86,475 patients with CKD, 51.3%, 30.0%, and 18.7% had high, moderate, and poor continuity of care, respectively. There were 77,988 all-cause hospitalizations, 6,489 ACSC-related hospitalizations, 204,615 all-cause ED visits, and 8,461 ACSC-related ED visits during a median follow-up of 2.3 years. Rates of all-cause and ACSC hospitalization and ED use increased with poorer continuity of care in a stepwise fashion across CKD stages. Patients with poor continuity were less likely to be prescribed a statin.
Conclusions: Poor continuity of care is associated with increased acute care use among patients with CKD. Targeted strategies that strengthen patient-physician relationships and guide physicians regarding guideline-recommended prescribing are needed.
{"title":"Determining the Association Between Continuity of Primary Care and Acute Care Use in Chronic Kidney Disease: A Retrospective Cohort Study.","authors":"Christy Chong, David Campbell, Meghan Elliott, Fariba Aghajafari, Paul Ronksley","doi":"10.1370/afm.2813","DOIUrl":"10.1370/afm.2813","url":null,"abstract":"<p><strong>Purpose: </strong>Acute care use is high among individuals with chronic kidney disease (CKD). It is unclear how relational continuity of primary care influences downstream acute care use. We aimed to determine if poor continuity of care is associated with greater rates of acute care use and decreased prescriptions for guideline-recommended drugs.</p><p><strong>Methods: </strong>We conducted a population-based retrospective cohort study of adults with stage 3-4 CKD and ≥3 visits to a primary care clinician during the period April 1, 2011 to March 31, 2014 in Alberta, Canada. Continuity was calculated using the Usual Provider Continuity index. Descriptive statistics were used to summarize patient and acute care encounter characteristics. Adjusted rates and incidence rate ratios for all-cause and CKD-related ambulatory care-sensitive condition (ACSC) hospitalizations and emergency department (ED) visits were estimated using negative binomial regression. Adjusted odds ratios for prescription use were estimated by multivariable logistic regression.</p><p><strong>Results: </strong>Among 86,475 patients with CKD, 51.3%, 30.0%, and 18.7% had high, moderate, and poor continuity of care, respectively. There were 77,988 all-cause hospitalizations, 6,489 ACSC-related hospitalizations, 204,615 all-cause ED visits, and 8,461 ACSC-related ED visits during a median follow-up of 2.3 years. Rates of all-cause and ACSC hospitalization and ED use increased with poorer continuity of care in a stepwise fashion across CKD stages. Patients with poor continuity were less likely to be prescribed a statin.</p><p><strong>Conclusions: </strong>Poor continuity of care is associated with increased acute care use among patients with CKD. Targeted strategies that strengthen patient-physician relationships and guide physicians regarding guideline-recommended prescribing are needed.</p>","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"75 1","pages":"237-245"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9199056/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80994067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-18DOI: 10.1080/00144940.2022.2063706
Andre Ye
Abstract Although often overlooked due to its sparse occurrence, the symbol of the cigarette offers a new model to understand key themes of darkness and temporality in Katherine Anne Porter’s Pale Horse, Pale Rider. Adam is Miranda’s metaphorical cigarette, a device of light and relief from a society pervaded by the darkness of war and sickness. Despite Miranda’s pleas, Adam is committed to his guaranteed extinguishment serving in the war. The driving motion throughout the novella is that of an unspoken but relentless temporality - the metaphorical cigarette flame ceases into darkness as Adam’s departure nears. This temporality can be understood as a creation of the wartime state, whose systematic movement and organization of human life dominate Adam’s being and hence controls Miranda’s psychological being and self-relation to her world. Porter’s work illustrates the devastating power of the wartime state to impose the metaphysics of inevitable darkness upon its citizens.
{"title":"The Wartime State and the Cigarette: Darkness and Temporality in Pale Horse, Pale Rider","authors":"Andre Ye","doi":"10.1080/00144940.2022.2063706","DOIUrl":"https://doi.org/10.1080/00144940.2022.2063706","url":null,"abstract":"Abstract Although often overlooked due to its sparse occurrence, the symbol of the cigarette offers a new model to understand key themes of darkness and temporality in Katherine Anne Porter’s Pale Horse, Pale Rider. Adam is Miranda’s metaphorical cigarette, a device of light and relief from a society pervaded by the darkness of war and sickness. Despite Miranda’s pleas, Adam is committed to his guaranteed extinguishment serving in the war. The driving motion throughout the novella is that of an unspoken but relentless temporality - the metaphorical cigarette flame ceases into darkness as Adam’s departure nears. This temporality can be understood as a creation of the wartime state, whose systematic movement and organization of human life dominate Adam’s being and hence controls Miranda’s psychological being and self-relation to her world. Porter’s work illustrates the devastating power of the wartime state to impose the metaphysics of inevitable darkness upon its citizens.","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"80 1","pages":"33 - 36"},"PeriodicalIF":0.1,"publicationDate":"2022-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47276356","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}
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