Pub Date : 2023-06-01DOI: 10.2979/jmodelite.46.4.07
Sina Movaghati
Abstract: Ever since the British colonists blessed tiger hunting as the cardinal "royal" sport of the Haut monde , a surge of interest took place among the leisure class to travel to the British Raj in order to re-practice their ancestral fox hunting on foreign hunting grounds—this time with a more fearsome quarry. Since tigers were considered exotic and fierce creatures, overpowering these beasts secured a certain cachet for the victor, signifying his virility and manliness. As a result, the encounter between man and the tiger—both in the metaphoric and non-metaphoric sense—provided a literary trope for the twentieth-century writers who associated the animal with the erotic hunger of the male protagonists. By studying the traditional beliefs surrounding these mystical creatures, the present article reads some of the notable literary fictions of the twentieth century that use the tiger as a central animal motif— The Beast in the Jungle (1903), Death in Venice (1912), and The Remains of the Day (1989)—in light of each other.
{"title":"A Beast to Be Slain: The Tiger and the Unquenched Desire of Man","authors":"Sina Movaghati","doi":"10.2979/jmodelite.46.4.07","DOIUrl":"https://doi.org/10.2979/jmodelite.46.4.07","url":null,"abstract":"Abstract: Ever since the British colonists blessed tiger hunting as the cardinal \"royal\" sport of the Haut monde , a surge of interest took place among the leisure class to travel to the British Raj in order to re-practice their ancestral fox hunting on foreign hunting grounds—this time with a more fearsome quarry. Since tigers were considered exotic and fierce creatures, overpowering these beasts secured a certain cachet for the victor, signifying his virility and manliness. As a result, the encounter between man and the tiger—both in the metaphoric and non-metaphoric sense—provided a literary trope for the twentieth-century writers who associated the animal with the erotic hunger of the male protagonists. By studying the traditional beliefs surrounding these mystical creatures, the present article reads some of the notable literary fictions of the twentieth century that use the tiger as a central animal motif— The Beast in the Jungle (1903), Death in Venice (1912), and The Remains of the Day (1989)—in light of each other.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135145975","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}
Pub Date : 2023-06-01DOI: 10.2979/jmodelite.46.4.12
Abstract: Karalyn Kendall-Morwick's Canis Modernis examines dog stories in Anglo-American modernism. Drawing together animal studies, modernist studies, and posthumanist theory, the book argues for an understanding of the human/dog relationship as a case of (two-way) coevolution, not merely (one-way) domestication. Ranging over an array of literary texts including Jack London's Call of the Wild , Virginia Woolf's Flush , J.R. Ackerley's My Dog Tulip , and Samuel Beckett's Three Novels, Canis Modernis finds a sustained concern with dogs' evolution, from early origins to modern breeding practices, in modernist literature. It also shows how encounters with dogs reshaped modernist understandings of the human and of humanist ethics.
{"title":"The Modernist Dog","authors":"","doi":"10.2979/jmodelite.46.4.12","DOIUrl":"https://doi.org/10.2979/jmodelite.46.4.12","url":null,"abstract":"Abstract: Karalyn Kendall-Morwick's Canis Modernis examines dog stories in Anglo-American modernism. Drawing together animal studies, modernist studies, and posthumanist theory, the book argues for an understanding of the human/dog relationship as a case of (two-way) coevolution, not merely (one-way) domestication. Ranging over an array of literary texts including Jack London's Call of the Wild , Virginia Woolf's Flush , J.R. Ackerley's My Dog Tulip , and Samuel Beckett's Three Novels, Canis Modernis finds a sustained concern with dogs' evolution, from early origins to modern breeding practices, in modernist literature. It also shows how encounters with dogs reshaped modernist understandings of the human and of humanist ethics.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135145978","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}
Pub Date : 2023-06-01DOI: 10.2979/jmodelite.46.4.04
Cory Austin Knudson
Abstract: In the works of Djuna Barnes, and particularly the enigmatic final paragraphs of Nightwood , animals and animalistic qualities represent the terminal incapacity of language to encompass reality. Georges Bataille's concept of "animality," considered as a comparative heuristic, allows for a more coherent articulation of the theoretical underpinnings and implications of this presentation of the animal as a limit to the logical, sequential ordering of coherent meaning through language, or what Bataille refers to in shorthand as "discourse." Ultimately, Bataille theorizes and Barnes embodies an animal poetics that gives expression to that which is not strictly amenable to human sense, and both mark the literary as the site where it becomes possible to gesture beyond the human toward a mode of bestial expression that emerges from the breakdown of human signification.
{"title":"Animality and the Limits of Discourse in Djuna Barnes and Georges Bataille","authors":"Cory Austin Knudson","doi":"10.2979/jmodelite.46.4.04","DOIUrl":"https://doi.org/10.2979/jmodelite.46.4.04","url":null,"abstract":"Abstract: In the works of Djuna Barnes, and particularly the enigmatic final paragraphs of Nightwood , animals and animalistic qualities represent the terminal incapacity of language to encompass reality. Georges Bataille's concept of \"animality,\" considered as a comparative heuristic, allows for a more coherent articulation of the theoretical underpinnings and implications of this presentation of the animal as a limit to the logical, sequential ordering of coherent meaning through language, or what Bataille refers to in shorthand as \"discourse.\" Ultimately, Bataille theorizes and Barnes embodies an animal poetics that gives expression to that which is not strictly amenable to human sense, and both mark the literary as the site where it becomes possible to gesture beyond the human toward a mode of bestial expression that emerges from the breakdown of human signification.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135145983","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}
Pub Date : 2023-06-01DOI: 10.2979/jmodelite.46.4.11
Abstract: In Literary Bioethics: Animality, Disability, and the Human , Maren Tova Linett posits literary fiction as uniquely valuable terrain for bioethical inquiry. By depicting phenomena like animality, disability, and aging in richly imagined worlds, she argues, literary narratives can promote more nuanced engagement with bioethical questions than do the sparse and decontextualized thought experiments commonly employed in philosophical bioethics. Linett reads several novels written across the long twentieth century as literary-philosophical laboratories for testing bioethical claims about the value of different kinds of lives, demonstrating the importance of literary ways of knowing for bioethics. In doing so, she also makes a compelling case for allying animal studies and disability studies, fields that have historically found themselves at odds but that together have much to say about how we can achieve justice for sentient lives of all kinds.
{"title":"Imagining Justice for Sentient Lives","authors":"","doi":"10.2979/jmodelite.46.4.11","DOIUrl":"https://doi.org/10.2979/jmodelite.46.4.11","url":null,"abstract":"Abstract: In Literary Bioethics: Animality, Disability, and the Human , Maren Tova Linett posits literary fiction as uniquely valuable terrain for bioethical inquiry. By depicting phenomena like animality, disability, and aging in richly imagined worlds, she argues, literary narratives can promote more nuanced engagement with bioethical questions than do the sparse and decontextualized thought experiments commonly employed in philosophical bioethics. Linett reads several novels written across the long twentieth century as literary-philosophical laboratories for testing bioethical claims about the value of different kinds of lives, demonstrating the importance of literary ways of knowing for bioethics. In doing so, she also makes a compelling case for allying animal studies and disability studies, fields that have historically found themselves at odds but that together have much to say about how we can achieve justice for sentient lives of all kinds.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135145976","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}
Pub Date : 2023-06-01DOI: 10.2979/jml.2023.a908973
Patricia Morgne Cramer
Abstract:In A Room of One's Own, when Virginia Woolf urges women writers to expose the "dark spots" in men's psychology, she signals her own intentions for The Waves. In The Waves, Woolf targets men's masculinity, elite educations, brutalized boyhoods (at public schools), and their too-easy belonging to literary traditions as causes of male writers' truncated creativity. Louis, Bernard, and Neville exhibit the writerly disabilities Woolf associates with virility in Room. They are also linked to T.S. Eliot, Desmond MacCarthy, and Lytton Strachey, and to modernist experimentalism, realism, and homosexual Hellenism, respectively. In The Waves, Woolf differentiates her aesthetics not only from the "materialists"—H.G. Wells, John Galsworthy, and Arnold Bennett—but her Georgian "allies" as well—Eliot, MacCarthy, and Strachey prominent among them.
{"title":"\"Everyone chooses their love after their own fashion\": The Waves as a Modernist Symposium","authors":"Patricia Morgne Cramer","doi":"10.2979/jml.2023.a908973","DOIUrl":"https://doi.org/10.2979/jml.2023.a908973","url":null,"abstract":"Abstract:In A Room of One's Own, when Virginia Woolf urges women writers to expose the \"dark spots\" in men's psychology, she signals her own intentions for The Waves. In The Waves, Woolf targets men's masculinity, elite educations, brutalized boyhoods (at public schools), and their too-easy belonging to literary traditions as causes of male writers' truncated creativity. Louis, Bernard, and Neville exhibit the writerly disabilities Woolf associates with virility in Room. They are also linked to T.S. Eliot, Desmond MacCarthy, and Lytton Strachey, and to modernist experimentalism, realism, and homosexual Hellenism, respectively. In The Waves, Woolf differentiates her aesthetics not only from the \"materialists\"—H.G. Wells, John Galsworthy, and Arnold Bennett—but her Georgian \"allies\" as well—Eliot, MacCarthy, and Strachey prominent among them.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146067","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}
Pub Date : 2023-06-01DOI: 10.2979/jmodelite.46.4.05
Farah Ali
Abstract: Luce Irigaray's mimesis theory is here pushed further by expanding her concept of phallocentric culture, which leads us to consider various figures of authority represented in Jean Genet's play The Maids (1947). In The Maids , characters step into the skin of their victimizers to display their invisible occluded emotions on one hand, and on the other, the hegemonic discourse of their oppressors, or what I call "phallocentric cultures." The two main characters, Claire and Solange, show why their constructed images impersonating their Madame fail to fulfill their dreams of stepping out of their own milieu. I analyze their subjectivity in connection with Genet's desire to undermine the ruling social system.
{"title":"The Invisible Flesh: Mimesis in Jean Genet's The Maids","authors":"Farah Ali","doi":"10.2979/jmodelite.46.4.05","DOIUrl":"https://doi.org/10.2979/jmodelite.46.4.05","url":null,"abstract":"Abstract: Luce Irigaray's mimesis theory is here pushed further by expanding her concept of phallocentric culture, which leads us to consider various figures of authority represented in Jean Genet's play The Maids (1947). In The Maids , characters step into the skin of their victimizers to display their invisible occluded emotions on one hand, and on the other, the hegemonic discourse of their oppressors, or what I call \"phallocentric cultures.\" The two main characters, Claire and Solange, show why their constructed images impersonating their Madame fail to fulfill their dreams of stepping out of their own milieu. I analyze their subjectivity in connection with Genet's desire to undermine the ruling social system.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146072","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}
Pub Date : 2023-06-01DOI: 10.2979/jml.2023.a908976
Molly B. Lewis
Abstract: In Rosencrantz and Guildenstern Are Dead (1967), Arcadia (1993), and Indian Ink (1995), the playwright Tom Stoppard poses existential questions about the inevitability of both cosmic and individual disintegration and death. However, as characters from Arcadia and Indian Ink engage in romantic encounters and acts of aesthetic creation driven by desire, they interrupt the cyclical inevitability of death embodied in Rosencrantz and Guildenstern Are Dead , and they oppose entropic disintegration by instigating encounters with beauty and desire that lead to reconciliation over time. This generative impulse of love and desire parallels Elaine Scarry's assertion in On Beauty and Being Just that encounters with beauty and desire are fundamentally life-giving.
{"title":"The Life-Giving Efficacy of Beauty and Desire in Stoppard's Drama","authors":"Molly B. Lewis","doi":"10.2979/jml.2023.a908976","DOIUrl":"https://doi.org/10.2979/jml.2023.a908976","url":null,"abstract":"Abstract: In Rosencrantz and Guildenstern Are Dead (1967), Arcadia (1993), and Indian Ink (1995), the playwright Tom Stoppard poses existential questions about the inevitability of both cosmic and individual disintegration and death. However, as characters from Arcadia and Indian Ink engage in romantic encounters and acts of aesthetic creation driven by desire, they interrupt the cyclical inevitability of death embodied in Rosencrantz and Guildenstern Are Dead , and they oppose entropic disintegration by instigating encounters with beauty and desire that lead to reconciliation over time. This generative impulse of love and desire parallels Elaine Scarry's assertion in On Beauty and Being Just that encounters with beauty and desire are fundamentally life-giving.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":"149 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146059","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}
Pub Date : 2023-06-01DOI: 10.2979/jmodelite.46.4.10
Celiese Lypka
Abstract: There are many unsettling encounters within Jean Rhys's novels, but perhaps the most difficult for readers is Sasha Jansen's final intimate act in Good Morning, Midnight . The novel depicts Sasha's lost subjectivity through moments of sexual intimacy, ultimately demonstrating how she cultivates a sense of indifference to prescriptive femininity by rebelling against the stratified anxiousness that has haunted her position as a precarious woman in society. The final scene between Sasha and her neighbour, the "commis voyager," is often read as a dark mimicking of James Joyce's Molly Bloom in Ulysses , with Sasha's intimate affirmation of "yes—yes—yes …" as a mode of self-annihilation. Missing from these readings is a consideration of Sasha's encounter with herself, as she stares "straight into [the commis's] eyes" to see a vision of herself reflected there, one that recuperates her split subjectivity and solidifies her indifference to normative rhythms of life.
{"title":"\"I Look Straight into His Eyes … For the Last Time\": Intimacy and Indifference in Jean Rhys's Good Morning, Midnight","authors":"Celiese Lypka","doi":"10.2979/jmodelite.46.4.10","DOIUrl":"https://doi.org/10.2979/jmodelite.46.4.10","url":null,"abstract":"Abstract: There are many unsettling encounters within Jean Rhys's novels, but perhaps the most difficult for readers is Sasha Jansen's final intimate act in Good Morning, Midnight . The novel depicts Sasha's lost subjectivity through moments of sexual intimacy, ultimately demonstrating how she cultivates a sense of indifference to prescriptive femininity by rebelling against the stratified anxiousness that has haunted her position as a precarious woman in society. The final scene between Sasha and her neighbour, the \"commis voyager,\" is often read as a dark mimicking of James Joyce's Molly Bloom in Ulysses , with Sasha's intimate affirmation of \"yes—yes—yes …\" as a mode of self-annihilation. Missing from these readings is a consideration of Sasha's encounter with herself, as she stares \"straight into [the commis's] eyes\" to see a vision of herself reflected there, one that recuperates her split subjectivity and solidifies her indifference to normative rhythms of life.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146002","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}
Pub Date : 2023-06-01DOI: 10.2979/jml.2023.a908978
Yi-chin Shih
Abstract: Alice Childress's Wedding Band (1966), set in an unnamed Black South Carolina community in 1918, dwells upon Julia's loneliness, caused by her interracial love, which is forbidden by the state's law against miscegenation. Julia's anxiety about being transgressive fosters her desire to belong to a community characterized by Black women's culture and their sense of place. Her quest for a place in society highlights the segregated community's need for a specifically Black space. Wedding Band complicates the interlocking system of oppression by addressing the notion of place and also demonstrates that Black women are not passive in respect to their surroundings.
{"title":"Senses of Place: The Black Community in Alice Childress's Wedding Band","authors":"Yi-chin Shih","doi":"10.2979/jml.2023.a908978","DOIUrl":"https://doi.org/10.2979/jml.2023.a908978","url":null,"abstract":"Abstract: Alice Childress's Wedding Band (1966), set in an unnamed Black South Carolina community in 1918, dwells upon Julia's loneliness, caused by her interracial love, which is forbidden by the state's law against miscegenation. Julia's anxiety about being transgressive fosters her desire to belong to a community characterized by Black women's culture and their sense of place. Her quest for a place in society highlights the segregated community's need for a specifically Black space. Wedding Band complicates the interlocking system of oppression by addressing the notion of place and also demonstrates that Black women are not passive in respect to their surroundings.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146058","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}
Pub Date : 2023-06-01DOI: 10.2979/jmodelite.46.4.06
Molly B. Lewis
Abstract: In Rosencrantz and Guildenstern Are Dead (1967), Arcadia (1993), and Indian Ink (1995), the playwright Tom Stoppard poses existential questions about the inevitability of both cosmic and individual disintegration and death. However, as characters from Arcadia and Indian Ink engage in romantic encounters and acts of aesthetic creation driven by desire, they interrupt the cyclical inevitability of death embodied in Rosencrantz and Guildenstern Are Dead , and they oppose entropic disintegration by instigating encounters with beauty and desire that lead to reconciliation over time. This generative impulse of love and desire parallels Elaine Scarry's assertion in On Beauty and Being Just that encounters with beauty and desire are fundamentally life-giving.
{"title":"The Life-Giving Efficacy of Beauty and Desire in Stoppard's Drama","authors":"Molly B. Lewis","doi":"10.2979/jmodelite.46.4.06","DOIUrl":"https://doi.org/10.2979/jmodelite.46.4.06","url":null,"abstract":"Abstract: In Rosencrantz and Guildenstern Are Dead (1967), Arcadia (1993), and Indian Ink (1995), the playwright Tom Stoppard poses existential questions about the inevitability of both cosmic and individual disintegration and death. However, as characters from Arcadia and Indian Ink engage in romantic encounters and acts of aesthetic creation driven by desire, they interrupt the cyclical inevitability of death embodied in Rosencrantz and Guildenstern Are Dead , and they oppose entropic disintegration by instigating encounters with beauty and desire that lead to reconciliation over time. This generative impulse of love and desire parallels Elaine Scarry's assertion in On Beauty and Being Just that encounters with beauty and desire are fundamentally life-giving.","PeriodicalId":44453,"journal":{"name":"JOURNAL OF MODERN LITERATURE","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135145974","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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