Abstract Transformations in the perception of horror by modern readers have provoked an increased tolerance for cruelty and death. This increase challenges authors to use special means of emotional arousal in order to appeal to contemporary audiences. One of Stephen King’s most recent books, The Institute (2019), is replete with such special means. The novel deals with unspeakable terror and centres on a group of psychic kids kidnapped and placed in brutal conditions to serve the dark purposes of powerful men. This article explores King’s ways of expressing horror by affecting universal human experiences, emotions, and feelings. It applies an interdisciplinary perspective based on psychological and hermeneutic approaches to argue that in the non-otherworldly and non-monster horror The Institute , King involves a combination of vocabulary inventions, syntactic transformations, letter emphases, and refined literary devices to create a terrifying atmosphere. These means are explicated in the article to argue that the violation of human rights and fundamental freedoms is, in many ways, more shocking and frightening than traditional bloody images. They help King remodel a dark realm of gripping horror, where fear arises primarily out of a sense of the distorted world order, and enable the writer to critique social institutions for their approval of horrendous harm.
{"title":"“In the Dark, All the Shadows Disappear”: Remodelling the Poetics of Gripping Horror in Stephen King’s <i>The Institute</i>","authors":"Oksana Bohovyk, Andrii Bezrukov","doi":"10.1515/ang-2023-0028","DOIUrl":"https://doi.org/10.1515/ang-2023-0028","url":null,"abstract":"Abstract Transformations in the perception of horror by modern readers have provoked an increased tolerance for cruelty and death. This increase challenges authors to use special means of emotional arousal in order to appeal to contemporary audiences. One of Stephen King’s most recent books, The Institute (2019), is replete with such special means. The novel deals with unspeakable terror and centres on a group of psychic kids kidnapped and placed in brutal conditions to serve the dark purposes of powerful men. This article explores King’s ways of expressing horror by affecting universal human experiences, emotions, and feelings. It applies an interdisciplinary perspective based on psychological and hermeneutic approaches to argue that in the non-otherworldly and non-monster horror The Institute , King involves a combination of vocabulary inventions, syntactic transformations, letter emphases, and refined literary devices to create a terrifying atmosphere. These means are explicated in the article to argue that the violation of human rights and fundamental freedoms is, in many ways, more shocking and frightening than traditional bloody images. They help King remodel a dark realm of gripping horror, where fear arises primarily out of a sense of the distorted world order, and enable the writer to critique social institutions for their approval of horrendous harm.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135389681","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 article examines Mourid Barghouti’s appropriation of Shakespeare’s Hamlet (1603) in his memoir I Saw Ramallah published originally in Arabic in 1997 and translated into English in 2000. The memoir documents his temporary return to Palestine after 30 years of exile and his criticism of the delusional life of Palestinians post Oslo accords which, as he argues, undermined the rights of Palestinians for autonomy, sovereignty and self-determination. Barghouti associates post-Oslo Palestinians with the fictional figure of Hamlet who is unpacking his heart with words rather than taking action against Claudius. According to Barghouti, Hamlet’s merry jests and laughter have striking similarities with many post-Oslo Palestinians who romanticize their injuries, turning their defeat into victory and their tragedy into comedy. Furthermore, Barghouti associates his feeling of displacement and internal exile with that of Hamlet who is displaced in his homeland, Denmark. Both Hamlet and Barghouti retreat behind the wall of silence and turn their exile and displacement into a subjective space of creativity and critical consciousness. We argue that Barghouti writes the Palestinian present through the classic, and we illustrate that Barghouti’s I Saw Ramallah has rendered the personal and national larger and global, permitting the specific and multifarious Palestinian oppression to be understood on grander scales. Thus, I Saw Ramallah suggests broad ethical messages, gerneralizing the Palestinian struggle to the level of significant moral questions of oppression, injustice and valor.
{"title":"“Words, Words, Words”: Mourid Barghouti’s Appropriation of Shakespeare’s <i>Hamlet</i> in <i>I Saw Ramallah</i>","authors":"Bilal Hamamra, Ahmad Qabaha, Sondos Qinnab","doi":"10.1515/ang-2023-0026","DOIUrl":"https://doi.org/10.1515/ang-2023-0026","url":null,"abstract":"Abstract This article examines Mourid Barghouti’s appropriation of Shakespeare’s Hamlet (1603) in his memoir I Saw Ramallah published originally in Arabic in 1997 and translated into English in 2000. The memoir documents his temporary return to Palestine after 30 years of exile and his criticism of the delusional life of Palestinians post Oslo accords which, as he argues, undermined the rights of Palestinians for autonomy, sovereignty and self-determination. Barghouti associates post-Oslo Palestinians with the fictional figure of Hamlet who is unpacking his heart with words rather than taking action against Claudius. According to Barghouti, Hamlet’s merry jests and laughter have striking similarities with many post-Oslo Palestinians who romanticize their injuries, turning their defeat into victory and their tragedy into comedy. Furthermore, Barghouti associates his feeling of displacement and internal exile with that of Hamlet who is displaced in his homeland, Denmark. Both Hamlet and Barghouti retreat behind the wall of silence and turn their exile and displacement into a subjective space of creativity and critical consciousness. We argue that Barghouti writes the Palestinian present through the classic, and we illustrate that Barghouti’s I Saw Ramallah has rendered the personal and national larger and global, permitting the specific and multifarious Palestinian oppression to be understood on grander scales. Thus, I Saw Ramallah suggests broad ethical messages, gerneralizing the Palestinian struggle to the level of significant moral questions of oppression, injustice and valor.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135389527","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 aims to offer a critical discussion of the representation of the cosmopolitan stranger (Marotta 2010) in Muriel Spark’s last novel, The Finishing School (2004). A category taken from the social sciences, mostly from the work of G. Simmel and Z. Bauman, the stranger as a literary figure has been associated with binary modes of relationship, whose versatile presence is usually responsible for destabilising socio-cultural spaces through his/her permeability and ambivalence. This notion will provide a valuable background for a better understanding of the game of doubles played in Spark’s novel through which the author challenges binary logic in character development and trespasses symbolic boundaries involving the encounter of otherness and a re-evaluation of the self. Our study re-examines Spark’s avant-gardism and foresight in her perception of a figure who reflects contemporary, multiple, playful and hybrid identities, one who may occupy this interstitial and ambivalent space which problematises social and cultural boundaries as unstable and permeable rather than reinforcing them. It adds a new perspective on Spark’s final novel which, as most of her later ones, may be said to be permeated by a sense of hybridity as a synonym for completeness, and a yearning for transition by implying the acceptance of new forms of interpretation and in-between spaces where fictional representation is negotiated and the intersection of opposites may enhance the inherent duality of existence. 1
{"title":"The Cosmopolitan Stranger in Muriel Spark’s <i>The Finishing School</i>","authors":"Carlos Villar Flor, Ana Isabel Altemir Giral","doi":"10.1515/ang-2023-0025","DOIUrl":"https://doi.org/10.1515/ang-2023-0025","url":null,"abstract":"Abstract This paper aims to offer a critical discussion of the representation of the cosmopolitan stranger (Marotta 2010) in Muriel Spark’s last novel, The Finishing School (2004). A category taken from the social sciences, mostly from the work of G. Simmel and Z. Bauman, the stranger as a literary figure has been associated with binary modes of relationship, whose versatile presence is usually responsible for destabilising socio-cultural spaces through his/her permeability and ambivalence. This notion will provide a valuable background for a better understanding of the game of doubles played in Spark’s novel through which the author challenges binary logic in character development and trespasses symbolic boundaries involving the encounter of otherness and a re-evaluation of the self. Our study re-examines Spark’s avant-gardism and foresight in her perception of a figure who reflects contemporary, multiple, playful and hybrid identities, one who may occupy this interstitial and ambivalent space which problematises social and cultural boundaries as unstable and permeable rather than reinforcing them. It adds a new perspective on Spark’s final novel which, as most of her later ones, may be said to be permeated by a sense of hybridity as a synonym for completeness, and a yearning for transition by implying the acceptance of new forms of interpretation and in-between spaces where fictional representation is negotiated and the intersection of opposites may enhance the inherent duality of existence. 1","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135389526","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 article presents an in-depth analysis of “Against a Wen”, a poetic charm from twelfth-century England that personifies, banishes, and annihilates a skin blemish. The study begins with a brief overview of the text’s linguistic features and then proceeds to discuss the charm in distinct sections. Each of these concentrates on the contextualisation of a specific passage. The article assembles analogues from previous research and also offers several novel parallels from a diverse range of incantations, Scandinavian sources, medieval medical texts, and the Old and New Testament. Combining these parallels not only helps clarify obscure passages in “Against a Wen” but also sheds additional light on the composition’s background. Specifically, unveiling the charm’s intertextual connections allows pointing out that “Against a Wen” incorporates riddling and bilingual wordplay, as well as biblical allusions. These findings challenge the long-held perception of the composition as vernacular and provide insight into the literary devices and healing strategies found in early medieval verse charms.
{"title":"Neidorf, Leonard. 2022. <i>The Art and Thought of the</i> Beowulf <i>Poet.</i> Ithaca, NY: Cornell University Press, 216 pp., $ 36.95.","authors":"Scott J. Gwara","doi":"10.1515/ang-2023-0030","DOIUrl":"https://doi.org/10.1515/ang-2023-0030","url":null,"abstract":"Abstract This article presents an in-depth analysis of “Against a Wen”, a poetic charm from twelfth-century England that personifies, banishes, and annihilates a skin blemish. The study begins with a brief overview of the text’s linguistic features and then proceeds to discuss the charm in distinct sections. Each of these concentrates on the contextualisation of a specific passage. The article assembles analogues from previous research and also offers several novel parallels from a diverse range of incantations, Scandinavian sources, medieval medical texts, and the Old and New Testament. Combining these parallels not only helps clarify obscure passages in “Against a Wen” but also sheds additional light on the composition’s background. Specifically, unveiling the charm’s intertextual connections allows pointing out that “Against a Wen” incorporates riddling and bilingual wordplay, as well as biblical allusions. These findings challenge the long-held perception of the composition as vernacular and provide insight into the literary devices and healing strategies found in early medieval verse charms.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135389683","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 Irish history and literature are plagued with silenced discourses and untold stories. The discourse of dominance, which maintained the Anglo-Irish élite in their ruling position for centuries, was built on the silencing of the repression exerted on the Catholic population. Fin-de-siècle Irish literature encapsulates, and portrays, such silencing, which the Anglo-Irish exerted through their dominance and abuse of the judiciary, the religious and the political statements. Postcolonial reinterpretations of these writings have helped unveil the perceptions of Irish society at the time, and how different Irish writers attempted to criticise this corruption. Bram Stoker’s Gothic story “The Judge’s House” (1891) explores how the past, albeit silenced, always returns to haunt the present, exposing Anglo-Irish anxieties over the return of the repressed native Catholic population, simultaneously denouncing the one-sided abuse conducted by an élite . This paper explores how narrative technique is used to convey the idea of the perennial return of the unsolved, guilty past. Silence over historical past continuously actualises the unresolved conflicts of the Anglo-Irish, generating the ghosts that haunt them.
{"title":"Displaced Geographies and Uncomfortable Truths: Unveiling Anglo-Irish Silenced Past in Bram Stoker’s “The Judge’s House” (1891)","authors":"Richard Jorge","doi":"10.1515/ang-2023-0024","DOIUrl":"https://doi.org/10.1515/ang-2023-0024","url":null,"abstract":"Abstract Irish history and literature are plagued with silenced discourses and untold stories. The discourse of dominance, which maintained the Anglo-Irish élite in their ruling position for centuries, was built on the silencing of the repression exerted on the Catholic population. Fin-de-siècle Irish literature encapsulates, and portrays, such silencing, which the Anglo-Irish exerted through their dominance and abuse of the judiciary, the religious and the political statements. Postcolonial reinterpretations of these writings have helped unveil the perceptions of Irish society at the time, and how different Irish writers attempted to criticise this corruption. Bram Stoker’s Gothic story “The Judge’s House” (1891) explores how the past, albeit silenced, always returns to haunt the present, exposing Anglo-Irish anxieties over the return of the repressed native Catholic population, simultaneously denouncing the one-sided abuse conducted by an élite . This paper explores how narrative technique is used to convey the idea of the perennial return of the unsolved, guilty past. Silence over historical past continuously actualises the unresolved conflicts of the Anglo-Irish, generating the ghosts that haunt them.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"2012 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135389679","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 Adrian Duncan’s second novel A Sabbatical in Leipzig (2020) marks a departure from ‘typical’ Irish topics such as national identity and religion. This he shares with a range of contemporary Irish authors, particularly those writing in the aftermath of the Celtic-Tiger years. The novel’s focus on architecture and engineering, which also looms large in Duncan’s other novels Love Notes from a German Building Site and The Geometer Lobachevsky, is unique, as it leads to unusual reflections on the nature of material culture. This original approach to the novel form should be considered as part of the current international trend to integrate theoretical reflections on a wide range of topics, thus negotiating contemporary cultures of knowledge. The novel’s international outlook moves away from ‘typical’ Irish topics of national identity and religion shared by a wider range of contemporary Irish authors, particularly those writing in the aftermath of the Celtic-Tiger years. The novel is thus also a reflection on the collapse of old systems, be they political, social, or epistemological, and the existential uncertainty created by their demise. I argue in my paper that Duncan’s novel addresses questions of knowledge formation that bear a striking resemblance to the Romantic novel as an open and generically hybrid form. I read it in a wider context as part of an ongoing experience of crisis: my overall thesis aims at describing the contemporary tendency to include abstract reflections that interrupt the narrative sequence as an expression of a fundamental crisis of knowledge. Today’s mediascape represents the contemporary world in a state of severe emergency, whose symptoms, be they climate change, the rise of nationalism and the far right, ultimately lead to a fundamental experience of contingency. Novels like Duncan’s can thus be seen as an expression of the crisis of the contemporary media ecology of knowledge.
{"title":"Jean Lee Cole. 2020. <i>How the Other Half Laughs: The Comic Sensibility in American Culture, 1895–1920</i>. Jackson, MS: Mississippi University Press, 214 pp., 63 illustr., $ 112.00.","authors":"Ian Gordon","doi":"10.1515/ang-2023-0032","DOIUrl":"https://doi.org/10.1515/ang-2023-0032","url":null,"abstract":"Abstract Adrian Duncan’s second novel A Sabbatical in Leipzig (2020) marks a departure from ‘typical’ Irish topics such as national identity and religion. This he shares with a range of contemporary Irish authors, particularly those writing in the aftermath of the Celtic-Tiger years. The novel’s focus on architecture and engineering, which also looms large in Duncan’s other novels Love Notes from a German Building Site and The Geometer Lobachevsky, is unique, as it leads to unusual reflections on the nature of material culture. This original approach to the novel form should be considered as part of the current international trend to integrate theoretical reflections on a wide range of topics, thus negotiating contemporary cultures of knowledge. The novel’s international outlook moves away from ‘typical’ Irish topics of national identity and religion shared by a wider range of contemporary Irish authors, particularly those writing in the aftermath of the Celtic-Tiger years. The novel is thus also a reflection on the collapse of old systems, be they political, social, or epistemological, and the existential uncertainty created by their demise. I argue in my paper that Duncan’s novel addresses questions of knowledge formation that bear a striking resemblance to the Romantic novel as an open and generically hybrid form. I read it in a wider context as part of an ongoing experience of crisis: my overall thesis aims at describing the contemporary tendency to include abstract reflections that interrupt the narrative sequence as an expression of a fundamental crisis of knowledge. Today’s mediascape represents the contemporary world in a state of severe emergency, whose symptoms, be they climate change, the rise of nationalism and the far right, ultimately lead to a fundamental experience of contingency. Novels like Duncan’s can thus be seen as an expression of the crisis of the contemporary media ecology of knowledge.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135389682","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 The Comical History of Don Quixote (1694) is one of the first dramatizations of Miguel de Cervantes’s novel in English, written in three parts. Starting with the episode of Cardenio and Luscinda in the first part, Thomas D’Urfey takes liberties with the characters and twists the plot, mixing chapters and embellishing it with songs by composer Henry Purcell and music by other contemporary artists. However, this dramatist presents us with a noble and quite sensible Don Quixote, as opposed to a histrionic Sancho, thus inverting the essence of the original characters in Cervantes’s novel.This article will analyze – from the perspective of studies on theatrical adaptation, such as Linda Hutcheon’s A Theory of Adaptation (2006) and Jane Barnette’s ADAPTURGY: The Dramaturg’s Art and Theatrical Adaptation (2018) – Thomas D’Urfey’s The Comical History of Don Quixote (1694) as an adaptation of Miguel de Cervantes’s Quixote . The author will explore the different episodes that D’Urfey chose to rewrite in the three parts of his play, analyzing the differences and similitudes between the original stories in the novel and their adapted version in the play, in order to prove that, on the one hand, Cervantes’s novel was already widely known by English audiences when D’Urfey’s plays were premiered, on the other, that he adapted the existing material to suit the preferences of English seventeenth-century audiences and, finally, that he created a parody in which Don Quixote is actually a nobler character than that of the preceding seventeenth-century adaptations. 1
《唐吉诃德的喜剧史》(1694)是塞万提斯的第一部英文小说，分为三个部分。从第一部分Cardenio和Luscinda的情节开始，Thomas D 'Urfey对人物进行了自由创作，扭曲了情节，混合了章节，并用作曲家Henry Purcell的歌曲和其他当代艺术家的音乐来修饰它。然而，这位剧作家给我们呈现了一个高贵而理智的堂吉诃德，而不是一个装腔作势的桑丘，从而颠倒了塞万提斯小说中原始人物的本质。本文将从戏剧改编研究的角度，如琳达·哈琴的《改编理论》(2006)和简·巴内特的《改编:戏剧艺术与戏剧改编》(2018)来分析托马斯·达尔菲的《堂吉诃德的喜剧史》(1694)作为塞万提斯的《堂吉诃德》的改编。作者将探索不同的情节,D 'Urfey选择重写在他玩的三个部分,分析之间的差异和比喻故事在小说和改编版本,为了证明,一方面,塞万提斯的小说已经广为人知的英语观众D 'Urfey的戏剧首演时,另一方面,他适应现有的材料适合英语17世纪的观众的喜好,最后，他创造了一个模仿堂吉诃德的戏仿，在这个戏仿中，堂吉诃德实际上是一个比之前17世纪改编的作品更高贵的角色。1
{"title":"Thomas D’Urfey’s Adaptation of Cervantes’s <i>Quixote</i>: <i>The Comical History of Don Quixote</i>","authors":"María José Álvarez Faedo","doi":"10.1515/ang-2023-0022","DOIUrl":"https://doi.org/10.1515/ang-2023-0022","url":null,"abstract":"Abstract The Comical History of Don Quixote (1694) is one of the first dramatizations of Miguel de Cervantes’s novel in English, written in three parts. Starting with the episode of Cardenio and Luscinda in the first part, Thomas D’Urfey takes liberties with the characters and twists the plot, mixing chapters and embellishing it with songs by composer Henry Purcell and music by other contemporary artists. However, this dramatist presents us with a noble and quite sensible Don Quixote, as opposed to a histrionic Sancho, thus inverting the essence of the original characters in Cervantes’s novel.This article will analyze – from the perspective of studies on theatrical adaptation, such as Linda Hutcheon’s A Theory of Adaptation (2006) and Jane Barnette’s ADAPTURGY: The Dramaturg’s Art and Theatrical Adaptation (2018) – Thomas D’Urfey’s The Comical History of Don Quixote (1694) as an adaptation of Miguel de Cervantes’s Quixote . The author will explore the different episodes that D’Urfey chose to rewrite in the three parts of his play, analyzing the differences and similitudes between the original stories in the novel and their adapted version in the play, in order to prove that, on the one hand, Cervantes’s novel was already widely known by English audiences when D’Urfey’s plays were premiered, on the other, that he adapted the existing material to suit the preferences of English seventeenth-century audiences and, finally, that he created a parody in which Don Quixote is actually a nobler character than that of the preceding seventeenth-century adaptations. 1","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135389524","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 Hawthorne’s often-neglected tale, “The Seven Vagabonds” (1833), portrays one of the most significant instances of a vagabond’s way of life eventually materialized in literary pursuit. This paper examines the short story in light of Mikhail Bakhtin’s notion of ‘carnival’, explicating how each vagabond arriving at the wagon offers some tantalizing glimpses of what a Bakhtinian carnival looks like. These carnivalesque features include the immediate familiarity between the characters, the suspension of moral and social rules, embodiment, and unfinalizabilty. Acting as the prelude to Stamford, the vagabonds’ merry gathering is ultimately canceled out. It is finally argued that the failure of the vagabonds’ utopia marks the narrator’s momentum of transformation, leading him to internalize the carnival spirit of vagabonds within his own imaginative mind and to change the role of carnival from an actual event to a literary pursuit, embodied in the creative and subjective art of storytelling. This transformation of carnivalization tallies well with Hawthorne’s modified political vision of utopianism in the aftermath of the Brook Farm experiment and Bakhtin’s configuration of carnival after its decline as a public event in the Renaissance.
{"title":"The Maypole of Merry Vagabonds: Hawthorne’s “The Seven Vagabonds” and the Birth of Conservative Utopia","authors":"Hossein Nazari, Ali Hassanpour Darbandi","doi":"10.1515/ang-2023-0023","DOIUrl":"https://doi.org/10.1515/ang-2023-0023","url":null,"abstract":"Abstract Hawthorne’s often-neglected tale, “The Seven Vagabonds” (1833), portrays one of the most significant instances of a vagabond’s way of life eventually materialized in literary pursuit. This paper examines the short story in light of Mikhail Bakhtin’s notion of ‘carnival’, explicating how each vagabond arriving at the wagon offers some tantalizing glimpses of what a Bakhtinian carnival looks like. These carnivalesque features include the immediate familiarity between the characters, the suspension of moral and social rules, embodiment, and unfinalizabilty. Acting as the prelude to Stamford, the vagabonds’ merry gathering is ultimately canceled out. It is finally argued that the failure of the vagabonds’ utopia marks the narrator’s momentum of transformation, leading him to internalize the carnival spirit of vagabonds within his own imaginative mind and to change the role of carnival from an actual event to a literary pursuit, embodied in the creative and subjective art of storytelling. This transformation of carnivalization tallies well with Hawthorne’s modified political vision of utopianism in the aftermath of the Brook Farm experiment and Bakhtin’s configuration of carnival after its decline as a public event in the Renaissance.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135389525","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 essay discusses how and to what effect Weird and New Weird fiction use description in unique and genre-defining ways. Using H. P. Lovecraft’s “The Call of Cthulhu” and China Miéville’s The City & The City as examples, it shows how the Weird relegates a comparatively large part of the text to description and attempts to elicit dread as an aesthetic effect. The essay argues that the Weird breaks with the traditional use of description by employing formally realist tendencies which it defies functionally, and by combining over-description with the failure to describe, whereas the New Weird is more concise in its use of description, ties it more closely to the narrative, and is less reliant on descriptive failures. Both the Weird and the New Weird demand more active reader participation in their creation of aesthetic illusion, which they encourage through the frames they create around their descriptions, thus preparing readers for the potential of aesthetic distance in the reception process and diminishing its effect. The analysis emphasizes the potential of description to be more than a subordinate to the narrative mode and to be a central component in the formation of a text’s implied worldview.
摘要本文探讨了怪异小说和新怪异小说如何以独特的、定义体裁的方式运用描写，并在其中发挥了怎样的作用。洛夫克拉夫特(h.p. Lovecraft)的《克苏鲁的呼唤》(The Call of Cthulhu)和China misamuville的《城市》(The City)以《城市》为例，它展示了《怪异》是如何将相当大一部分文字降格为描述，并试图将恐惧作为一种美学效果来引发。本文认为，《怪异》通过运用形式上的现实主义倾向，在功能上与之对抗，并将过度描述与失败描述相结合，打破了传统的描述用法，而《新怪异》在描述的使用上更简洁，与叙事联系更紧密，对描述失败的依赖更少。“怪异”和“新怪异”都要求读者更积极地参与他们的审美幻觉的创造，他们通过围绕他们的描述创造的框架来鼓励读者参与，从而为读者在接受过程中潜在的审美距离做好准备，并减少其影响。分析强调了描写的潜力，它不仅仅是叙事模式的附属，而且是文本隐含世界观形成的核心组成部分。
{"title":"Forms and Functions of Description in the (New) Weird","authors":"Thomas Rauth","doi":"10.1515/ang-2023-0027","DOIUrl":"https://doi.org/10.1515/ang-2023-0027","url":null,"abstract":"Abstract This essay discusses how and to what effect Weird and New Weird fiction use description in unique and genre-defining ways. Using H. P. Lovecraft’s “The Call of Cthulhu” and China Miéville’s The City & The City as examples, it shows how the Weird relegates a comparatively large part of the text to description and attempts to elicit dread as an aesthetic effect. The essay argues that the Weird breaks with the traditional use of description by employing formally realist tendencies which it defies functionally, and by combining over-description with the failure to describe, whereas the New Weird is more concise in its use of description, ties it more closely to the narrative, and is less reliant on descriptive failures. Both the Weird and the New Weird demand more active reader participation in their creation of aesthetic illusion, which they encourage through the frames they create around their descriptions, thus preparing readers for the potential of aesthetic distance in the reception process and diminishing its effect. The analysis emphasizes the potential of description to be more than a subordinate to the narrative mode and to be a central component in the formation of a text’s implied worldview.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135389677","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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