In their introduction to Values of Literature, Hanna Meretoja and Pyro Lyytikäinen argue that ‘little attention has been paid to the ethical relevance of different literary genres and to the very different functions of literary texts that make literature valuable’.1 Literature has several ‘uses’ according to Rita Felski (2008), amongst which are the ‘knowledge’ and ‘shock’ elements insofar as they enable readers to change their perception of the world. Examining what I term ‘refugee memoirs’ as an emergent genre and its uses in enabling readers to interrogate dominant discourses about refugees in the UK, Europe and North America, I argue that refugee memoirs contest right-wing narratives that seek to shape society’s view of asylum-seekers and refugees and enable readers to see refugees' lived experiences through new perspective. Thereby, these narratives also permit a rehumanization of refugees and a comprehension of their losses and positions.
Hanna Meretoja 和 Pyro Lyytikäinen 在《文学的价值》一书的导言中指出，"人们很少关注不同文学体裁的伦理相关性，也很少关注文学文本所具有的使文学变得有价值的不同功能"。我将 "难民回忆录 "作为一种新出现的文学体裁，研究它在帮助读者质疑英国、欧洲和北美关于难民的主流话语方面的作用，我认为，难民回忆录对试图塑造社会对寻求庇护者和难民的看法的右翼叙事提出了质疑，并使读者能够从新的角度看待难民的生活经历。因此，这些叙事也使难民重新获得人性，并理解他们的损失和处境。
{"title":"Refugee Memoirs: Kouamé’s Revenu des ténèbres (2018) and Dina Nayeri’s The Ungrateful Refugee (2019) and the challenge of refugee narratives","authors":"Ashwiny O Kistnareddy","doi":"10.1093/fmls/cqae066","DOIUrl":"https://doi.org/10.1093/fmls/cqae066","url":null,"abstract":"In their introduction to Values of Literature, Hanna Meretoja and Pyro Lyytikäinen argue that ‘little attention has been paid to the ethical relevance of different literary genres and to the very different functions of literary texts that make literature valuable’.1 Literature has several ‘uses’ according to Rita Felski (2008), amongst which are the ‘knowledge’ and ‘shock’ elements insofar as they enable readers to change their perception of the world. Examining what I term ‘refugee memoirs’ as an emergent genre and its uses in enabling readers to interrogate dominant discourses about refugees in the UK, Europe and North America, I argue that refugee memoirs contest right-wing narratives that seek to shape society’s view of asylum-seekers and refugees and enable readers to see refugees' lived experiences through new perspective. Thereby, these narratives also permit a rehumanization of refugees and a comprehension of their losses and positions.","PeriodicalId":42991,"journal":{"name":"FORUM FOR MODERN LANGUAGE STUDIES","volume":"45 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142202109","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}
Michael Ondaatje’s first three novels, those which cemented his international fiction career, each use a pattern in which metaphors which begin as isolated comparisons of A to B are also sequentially repackaged into the lesser known (but equally substitutive) trope of metonymy. In sequence, this metonymic use of metaphor fuses the self-evident comparison of metaphor with the more acculturated substitution of metonymy – a substitution taught within a culture, not self-evident like a metaphor – ultimately enacting a poetics of acculturation. Loading a novel’s metaphorical terms with sequential meaning was crucial to an Ondaatje who was not only transitioning from poet to novelist, but doing so in an aesthetic fusion of the postmodern and the postcolonial also found in other late-twentieth-century postcolonial novels.
{"title":"Beauty with an Explanation and the Poetics of Acculturation: How, and Why, Michael Ondaatje’s Poetic Novels Work","authors":"Darryl Whetter","doi":"10.1093/fmls/cqae054","DOIUrl":"https://doi.org/10.1093/fmls/cqae054","url":null,"abstract":"Michael Ondaatje’s first three novels, those which cemented his international fiction career, each use a pattern in which metaphors which begin as isolated comparisons of A to B are also sequentially repackaged into the lesser known (but equally substitutive) trope of metonymy. In sequence, this metonymic use of metaphor fuses the self-evident comparison of metaphor with the more acculturated substitution of metonymy – a substitution taught within a culture, not self-evident like a metaphor – ultimately enacting a poetics of acculturation. Loading a novel’s metaphorical terms with sequential meaning was crucial to an Ondaatje who was not only transitioning from poet to novelist, but doing so in an aesthetic fusion of the postmodern and the postcolonial also found in other late-twentieth-century postcolonial novels.","PeriodicalId":42991,"journal":{"name":"FORUM FOR MODERN LANGUAGE STUDIES","volume":"86 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141570005","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}
This article presents an analysis of Spanish adjectives that express positive aesthetic evaluation, framed in terms of Conceptual Semantics. The sample of ninety-six adjectives (with one hundred and forty-eight individual meanings) was taken from the Diccionario ideográfico y semántico de la valoración estética positiva en español. Semantic analysis of dictionary definitions showed that beauty is ascribed by way of three distinct conceptual structures, with beauty seen respectively as an intrinsic quality, as cause or effect or as a resemblance. It further showed a clear prevalence of visual attributes and part structure as targets of aesthetic evaluation, with other secondary qualities (like daintiness, perfection, effort, grace, taste and uniqueness) also being ascribed. A quantitative analysis yielded informative correlations between some of these pieces of semantic information, in the form of asymmetries between human and non-human beauty, which point to some interesting implications and questions for Spanish folk aesthetics.
本文以概念语义学为框架，对表达积极审美评价的西班牙语形容词进行了分析。样本中的 96 个形容词（具有 148 个独立含义）来自《西班牙语积极审美评价词典》（Diccionario ideográfico y semántico de la valoración estética positiva en español）。对词典定义的语义分析表明，"美 "有三种不同的概念结构，"美 "分别被视为内在品质、因果关系或相似性。分析还显示，视觉属性和部分结构显然是审美评价的目标，其他次要品质（如精致、完美、努力、优雅、品位和独特性）也被赋予了美感。定量分析得出了其中一些语义信息之间的相关性，即人类美和非人类美之间的不对称，这为西班牙民间美学提出了一些有趣的影响和问题。
{"title":"The Semantics of Beauty in Spanish Adjectives: Conceptual Structure and Implications for Folk Aesthetics","authors":"Ernesto Wong García","doi":"10.1093/fmls/cqae047","DOIUrl":"https://doi.org/10.1093/fmls/cqae047","url":null,"abstract":"This article presents an analysis of Spanish adjectives that express positive aesthetic evaluation, framed in terms of Conceptual Semantics. The sample of ninety-six adjectives (with one hundred and forty-eight individual meanings) was taken from the Diccionario ideográfico y semántico de la valoración estética positiva en español. Semantic analysis of dictionary definitions showed that beauty is ascribed by way of three distinct conceptual structures, with beauty seen respectively as an intrinsic quality, as cause or effect or as a resemblance. It further showed a clear prevalence of visual attributes and part structure as targets of aesthetic evaluation, with other secondary qualities (like daintiness, perfection, effort, grace, taste and uniqueness) also being ascribed. A quantitative analysis yielded informative correlations between some of these pieces of semantic information, in the form of asymmetries between human and non-human beauty, which point to some interesting implications and questions for Spanish folk aesthetics.","PeriodicalId":42991,"journal":{"name":"FORUM FOR MODERN LANGUAGE STUDIES","volume":"25 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141550152","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}
German-language concentration camp poetry has been frequently criticized for its formal failings, particularly its lack of innovation and overreliance on traditional forms. In this article, I undertake close readings of three formally conventional texts: Alfred Kittner’s ‘Molotschna’ (composed in Obodowka, a Transnistrian extermination camp, in 1943), Fritz Löhner-Beda’s ‘Sonett auf das Revier im KZ-Buchenwald’ (composed in Buchenwald in 1940) and Heinrich Steinitz’s ‘Wo bist Du, Gott?’ (composed in Buchenwald between 1938 and 1942). I will demonstrate how traditional forms provided stability in the midst of extremity through their regularity, structure and link to a more stable past and identity. Moreover, I will propose that they were not simply readily available containers for the poet’s suffering, but also enabled the poet to shape their individual depiction of the camps and therefore provide as valid an insight as those works which respond to extremity with fragmentation and innovation.
德语集中营诗歌因其形式上的缺陷，尤其是缺乏创新和过度依赖传统形式而屡遭批评。在本文中，我将对三篇形式传统的文本进行细读：阿尔弗雷德-基特纳（Alfred Kittner）的《Molotschna》（1943 年创作于德涅斯特河左岸灭绝营 Obodowka）、弗里茨-洛纳-贝达（Fritz Löhner-Beda）的《Sonett auf das Revier im KZ-Buchenwald》（1940 年创作于布痕瓦尔德）和海因里希-斯坦尼茨（Heinrich Steinitz）的《Wo bist Du, Gott?》（1938 年至 1942 年创作于布痕瓦尔德）。我将展示传统形式如何通过其规律性、结构性以及与更稳定的过去和身份的联系，在极端环境中提供稳定性。此外，我还将提出，它们不仅仅是诗人痛苦的现成容器，还使诗人能够塑造他们对集中营的个人描述，因此，它们与那些以碎片化和创新来应对极端的作品一样，提供了有效的见解。
{"title":"‘Ein Strudel der Selbstauflösung’: The Contested Role of Form in Poetry from the Concentration Camps","authors":"Elizabeth Robinson-Self","doi":"10.1093/fmls/cqae029","DOIUrl":"https://doi.org/10.1093/fmls/cqae029","url":null,"abstract":"German-language concentration camp poetry has been frequently criticized for its formal failings, particularly its lack of innovation and overreliance on traditional forms. In this article, I undertake close readings of three formally conventional texts: Alfred Kittner’s ‘Molotschna’ (composed in Obodowka, a Transnistrian extermination camp, in 1943), Fritz Löhner-Beda’s ‘Sonett auf das Revier im KZ-Buchenwald’ (composed in Buchenwald in 1940) and Heinrich Steinitz’s ‘Wo bist Du, Gott?’ (composed in Buchenwald between 1938 and 1942). I will demonstrate how traditional forms provided stability in the midst of extremity through their regularity, structure and link to a more stable past and identity. Moreover, I will propose that they were not simply readily available containers for the poet’s suffering, but also enabled the poet to shape their individual depiction of the camps and therefore provide as valid an insight as those works which respond to extremity with fragmentation and innovation.","PeriodicalId":42991,"journal":{"name":"FORUM FOR MODERN LANGUAGE STUDIES","volume":"2010 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141191731","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}
Although most contemporary Chicano authors tend to write exclusively in one language, English or Spanish, they have a range of linguistic options available to them – as would any member of a bilingual community – including code-switching. Code-switching in US literature dates back to the Mexican–American War and has been employed to establish aesthetic or stylistic credibility and to communicate biculturalism or ethnic identity. This article examines the dual role of code-switching in Alejandro Morales’s only bilingual novel, Reto en el paraíso. It explores how code-switching serves as a narrative technique to develop character identity in a bilingual and bicultural context, while also performing some of the socio-pragmatic and communicative functions commonly attested in natural bilingual discourse. Morales’s linguistic choices exemplify how Chicano writers living between two cultures may, and often must, use both languages to depict accurately the intricate cultural and linguistic realities of their characters.
虽然大多数当代奇卡诺作家倾向于只用一种语言（英语或西班牙语）写作，但他们有一系列语言选择--就像任何双语社区的成员一样--包括代码转换。美国文学中的语码转换可以追溯到美墨战争时期，它被用来建立美学或文体上的可信度，以及传达双文化或种族身份。本文探讨了代码转换在亚历杭德罗-莫拉莱斯（Alejandro Morales）唯一一部双语小说《Reto en el paraíso》中的双重作用。文章探讨了在双语和双文化背景下，代码转换如何作为一种叙事技巧来发展人物身份，同时也发挥了自然双语话语中常见的一些社会语用和交际功能。莫拉莱斯的语言选择体现了生活在两种文化之间的奇卡诺作家如何可能，而且往往必须使用两种语言来准确描绘人物错综复杂的文化和语言现实。
{"title":"The Dual Role of Code-Switching in Alejandro Morales’s Reto en el Paraíso","authors":"Cecilia Montes-Alcalá","doi":"10.1093/fmls/cqae024","DOIUrl":"https://doi.org/10.1093/fmls/cqae024","url":null,"abstract":"Although most contemporary Chicano authors tend to write exclusively in one language, English or Spanish, they have a range of linguistic options available to them – as would any member of a bilingual community – including code-switching. Code-switching in US literature dates back to the Mexican–American War and has been employed to establish aesthetic or stylistic credibility and to communicate biculturalism or ethnic identity. This article examines the dual role of code-switching in Alejandro Morales’s only bilingual novel, Reto en el paraíso. It explores how code-switching serves as a narrative technique to develop character identity in a bilingual and bicultural context, while also performing some of the socio-pragmatic and communicative functions commonly attested in natural bilingual discourse. Morales’s linguistic choices exemplify how Chicano writers living between two cultures may, and often must, use both languages to depict accurately the intricate cultural and linguistic realities of their characters.","PeriodicalId":42991,"journal":{"name":"FORUM FOR MODERN LANGUAGE STUDIES","volume":"35 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140578047","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 this article, I argue that a thorough analysis of literary multilingualism and code-switching needs to take their metalinguistic dimension into account. Many scholars have noticed multilingual authors’ tendency to frame code-switches with metalinguistic comments, but they are sometimes treated marginally, or as just one of the many functions of code-switching. My article argues that metalanguage is, in fact, a fundamental characteristic of literary multilingualism, and key to its interpretation. This is particularly evident when we look at how the contemporary Italian writers Laura Pariani, Silvana Grasso and Elena Ferrante construct their characters through linguistic biographies, and how they describe dialect use, bilingualism, language loss and shift and other collective and individual sociolinguistic processes. I also show that metalanguage needs to be analysed together with other tools used by authors to flag multilingualism: namely intratextual translations and peritextual elements (such as glossaries or notes), but also visual cues, such as italics.
{"title":"The Metalinguistic Dimension of Literary Multilingualism: Linguistic Biographies in Italian Fiction","authors":"Riikka Ala-Risku","doi":"10.1093/fmls/cqae001","DOIUrl":"https://doi.org/10.1093/fmls/cqae001","url":null,"abstract":"In this article, I argue that a thorough analysis of literary multilingualism and code-switching needs to take their metalinguistic dimension into account. Many scholars have noticed multilingual authors’ tendency to frame code-switches with metalinguistic comments, but they are sometimes treated marginally, or as just one of the many functions of code-switching. My article argues that metalanguage is, in fact, a fundamental characteristic of literary multilingualism, and key to its interpretation. This is particularly evident when we look at how the contemporary Italian writers Laura Pariani, Silvana Grasso and Elena Ferrante construct their characters through linguistic biographies, and how they describe dialect use, bilingualism, language loss and shift and other collective and individual sociolinguistic processes. I also show that metalanguage needs to be analysed together with other tools used by authors to flag multilingualism: namely intratextual translations and peritextual elements (such as glossaries or notes), but also visual cues, such as italics.","PeriodicalId":42991,"journal":{"name":"FORUM FOR MODERN LANGUAGE STUDIES","volume":"12 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140026438","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}
Drawing attention to a key but overlooked moment in Montaigne’s ‘De la vanité’, this article interrogates the relationship between two aspects of the essayist’s ‘franchise’: his personal freedom and his frank, direct speech. It offers a reading that runs counter to Montaigne’s self-characterization as ‘le plus libre et moins endebté’ person he knows, underscoring the precarity of his ‘franchise’ and his anxieties surrounding it. In this context, ‘franchise’ is shown to be hemmed in by a cluster of obligations, even as the essayist seeks to escape them. In contrast to the critical interest in Montaigne’s reflections on free-thinkers and courageous speakers, including Socrates, Seneca and Cato the Younger, and complementing studies that have highlighted the motif of babble and loquacity in the Essais, this article focuses on Montaigne seeing himself in a frightful inversion of ‘franchise’: the looking glass of Lyncestes and the story of his death as a consequence of his disfluency. Reading ‘franchise’ in this light helps us to learn what Montaigne considered one of the first lessons worth learning: the difference between ‘liberté’ and ‘licence’.
本文关注蒙田《De la vanité》中一个被忽视的关键时刻，探讨了散文家 "特许权 "的两个方面之间的关系：他的个人自由和他坦率、直接的言论。文章的解读与蒙田 "le plus libre et moins endebté "的自我描述背道而驰，强调了他的 "专营权 "的不稳定性以及他对此的焦虑。在这种情况下，"特许权 "被一系列义务所束缚，而散文家却试图摆脱这些义务。与评论界对蒙田对苏格拉底、塞内加和小加图等自由思想家和勇敢演讲者的反思的兴趣形成对比，并与强调《随笔》中胡言乱语和滔滔不绝主题的研究形成互补，本文侧重于蒙田在 "专营权 "的可怕反转中看到自己：Lyncestes的望远镜和他因不流利而死亡的故事。从这个角度解读 "特许权"，有助于我们学习蒙田认为值得学习的第一课之一："自由 "与 "特许 "的区别。
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In this article, I highlight the ways that Black Europeans challenge universalizing notions of cultural heritage to emphasize decolonial possibilities. Focusing on the German context, I show how Black artists, intellectuals and activists interrogate the collection, display and spectatorship of museum objects in majority-white contexts using the strategies of decolonial gazing and hermeneutic resistance. I use the Berlin Ethnological Museum in its former and current iterations as a representative example of debates about collecting and looking at museums, showing how scholars like Fatima El-Tayeb and initiatives like No Humboldt21! challenge universalizing discourses and reflect the gaze back on whiteness. Finally, I offer a reading of a literary challenge to white hegemony within and beyond the museum in Sharon Dodua Otoo’s 2021 novel Adas Raum [Ada’s Realm].
{"title":"Decolonial Gazing and Hermeneutic Resistance: Black German Challenges to White German Cultural Hegemony in the Museum","authors":"Maureen O Gallagher","doi":"10.1093/fmls/cqad053","DOIUrl":"https://doi.org/10.1093/fmls/cqad053","url":null,"abstract":"In this article, I highlight the ways that Black Europeans challenge universalizing notions of cultural heritage to emphasize decolonial possibilities. Focusing on the German context, I show how Black artists, intellectuals and activists interrogate the collection, display and spectatorship of museum objects in majority-white contexts using the strategies of decolonial gazing and hermeneutic resistance. I use the Berlin Ethnological Museum in its former and current iterations as a representative example of debates about collecting and looking at museums, showing how scholars like Fatima El-Tayeb and initiatives like No Humboldt21! challenge universalizing discourses and reflect the gaze back on whiteness. Finally, I offer a reading of a literary challenge to white hegemony within and beyond the museum in Sharon Dodua Otoo’s 2021 novel Adas Raum [Ada’s Realm].","PeriodicalId":42991,"journal":{"name":"FORUM FOR MODERN LANGUAGE STUDIES","volume":"40 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138541868","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 This paper proposes an intermedial reading of Toni Morrison’s Love (2003) and applies the concepts of intermediality theory to discuss the jazz narrative strategies used in the novel. In this article, intermediality is on the one hand associated with the musicalization of fiction; on the other hand, it is viewed from the perspective of expanding the representational modes of a given medium. The article explores the links between jazz music and literature, and argues that the structure of Morrison’s Love has a certain similarity to a jazz music composition. We identify in the structure of the novel a number of solos and the polyphonic overlapping of the voices, and we show that the interaction of voices gives the narrative a dialogic character, which results in multiple interpretations of the complex characters and ambiguous situations. Juxtapositions, temporal shifts, syncopation, rhythmically arranged sequences, meaningful chords, improvisation, repetition and variations are explored and interpreted as jazz narrative strategies. The article identifies a double riff based on counterpoint, and its role in harmonizing the sounds of the voices at the end of the novel. The rich imagery contributing to the performative character of the narrative is analysed. We argue that Morrison’s Love serves as a vivid example of the musicalization of fiction, which results in expanding the representational modes of literature.
{"title":"Jazz Music and Intermedial References in Toni Morrison’s <i>Love</i>","authors":"Yakiv Bystrov, Nataliya Telegina","doi":"10.1093/fmls/cqad052","DOIUrl":"https://doi.org/10.1093/fmls/cqad052","url":null,"abstract":"Abstract This paper proposes an intermedial reading of Toni Morrison’s Love (2003) and applies the concepts of intermediality theory to discuss the jazz narrative strategies used in the novel. In this article, intermediality is on the one hand associated with the musicalization of fiction; on the other hand, it is viewed from the perspective of expanding the representational modes of a given medium. The article explores the links between jazz music and literature, and argues that the structure of Morrison’s Love has a certain similarity to a jazz music composition. We identify in the structure of the novel a number of solos and the polyphonic overlapping of the voices, and we show that the interaction of voices gives the narrative a dialogic character, which results in multiple interpretations of the complex characters and ambiguous situations. Juxtapositions, temporal shifts, syncopation, rhythmically arranged sequences, meaningful chords, improvisation, repetition and variations are explored and interpreted as jazz narrative strategies. The article identifies a double riff based on counterpoint, and its role in harmonizing the sounds of the voices at the end of the novel. The rich imagery contributing to the performative character of the narrative is analysed. We argue that Morrison’s Love serves as a vivid example of the musicalization of fiction, which results in expanding the representational modes of literature.","PeriodicalId":42991,"journal":{"name":"FORUM FOR MODERN LANGUAGE STUDIES","volume":"41 21","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135977556","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 Among the many puzzles in Rainer Maria Rilke's Duino Elegies is the ninth elegy’s declaration that the things of the world are disappearing, but that the only way to rescue them from this fate is to make them ‘invisible’. To make sense of this paradoxical scenario, the present article first examines in the light of several theoretical frameworks (for example, Walter Benjamin’s aura, Jean-Luc Maron’s apophasis and Hannah Arendt’s natality) how Rilke portrays the relationship between praise and mourning, proposing as an interpretive key hymnic language’s depicted capacity to illuminate transience. The article then demonstrates how this dimension of Rilke’s text articulates a vision of an authentically ecological relation to phenomena, one that involves an ecstatic exchange between subject and environment and that ultimately upends paradigmatic hierarchies of ‘human/non-human’ by introducing a modality of love grounded in loss rather than in possession.
{"title":"<i>Amor mundi</i>: The Ecology and Praise of Transience in Rilke’s <i>Duino Elegies</i>","authors":"Alexander Sorenson","doi":"10.1093/fmls/cqad048","DOIUrl":"https://doi.org/10.1093/fmls/cqad048","url":null,"abstract":"Abstract Among the many puzzles in Rainer Maria Rilke's Duino Elegies is the ninth elegy’s declaration that the things of the world are disappearing, but that the only way to rescue them from this fate is to make them ‘invisible’. To make sense of this paradoxical scenario, the present article first examines in the light of several theoretical frameworks (for example, Walter Benjamin’s aura, Jean-Luc Maron’s apophasis and Hannah Arendt’s natality) how Rilke portrays the relationship between praise and mourning, proposing as an interpretive key hymnic language’s depicted capacity to illuminate transience. The article then demonstrates how this dimension of Rilke’s text articulates a vision of an authentically ecological relation to phenomena, one that involves an ecstatic exchange between subject and environment and that ultimately upends paradigmatic hierarchies of ‘human/non-human’ by introducing a modality of love grounded in loss rather than in possession.","PeriodicalId":42991,"journal":{"name":"FORUM FOR MODERN LANGUAGE STUDIES","volume":"21 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135977062","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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