{"title":":Literary Rebels: A History of Creative Writers in Anglo-American Universities","authors":"C. Kempf","doi":"10.1086/724727","DOIUrl":"https://doi.org/10.1086/724727","url":null,"abstract":"","PeriodicalId":45201,"journal":{"name":"MODERN PHILOLOGY","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44888077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Experimental: American Literature and the Aesthetics of Knowledge","authors":"Alex Streim","doi":"10.1086/724656","DOIUrl":"https://doi.org/10.1086/724656","url":null,"abstract":"","PeriodicalId":45201,"journal":{"name":"MODERN PHILOLOGY","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44875452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":The Masses Are Revolting: Victorian Culture and the Aesthetics of Disgust","authors":"Anna Kornbluh","doi":"10.1086/724554","DOIUrl":"https://doi.org/10.1086/724554","url":null,"abstract":"","PeriodicalId":45201,"journal":{"name":"MODERN PHILOLOGY","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48048177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":What Kind of a Thing Is a Middle English Lyric?","authors":"W. Paden","doi":"10.1086/724520","DOIUrl":"https://doi.org/10.1086/724520","url":null,"abstract":"","PeriodicalId":45201,"journal":{"name":"MODERN PHILOLOGY","volume":"16 4","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41306645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":The Metanarrative Hall of Mirrors: Reflex Action in Fiction and Film","authors":"W. Buckland","doi":"10.1086/724336","DOIUrl":"https://doi.org/10.1086/724336","url":null,"abstract":"","PeriodicalId":45201,"journal":{"name":"MODERN PHILOLOGY","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42224832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":The Aesthetic Commonplace: Wordsworth, Eliot, Wittgenstein and the Language of Every Day","authors":"George J. Leonard","doi":"10.1086/724115","DOIUrl":"https://doi.org/10.1086/724115","url":null,"abstract":"","PeriodicalId":45201,"journal":{"name":"MODERN PHILOLOGY","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44198393","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Old English hagiographical poem Andreas provides an important witness to the form and reception of Beowulf in the early medieval period. As scholarship in recent decades has confirmed, the author of Andreas drew pervasively from Beowulf in composing the hagiographical poem, borrowing phrases and extended passages to imbue the story of St. Andrew with heroic qualities. The present study tabulates the borrowed phraseology found in Andreas to systematically assemble a portrait of Beowulf as it was known to the poet of Andreas, most likely in the ninth century. The image reconstructed reveals that the text of Beowulf at this time had the same shape it possesses today, containing all the major episodes and speeches. The patterns of borrowings also suggest that Beowulf was admired for its heroic ethos and imagery, and was likely memorized verbatim. These findings accord well with an early (eighth-century) date for Beowulf.
{"title":"Reconstructing Early Beowulf: Evidence from Andreas for the Ninth-Century Form of the Text","authors":"P. Ramey","doi":"10.1086/723178","DOIUrl":"https://doi.org/10.1086/723178","url":null,"abstract":"The Old English hagiographical poem Andreas provides an important witness to the form and reception of Beowulf in the early medieval period. As scholarship in recent decades has confirmed, the author of Andreas drew pervasively from Beowulf in composing the hagiographical poem, borrowing phrases and extended passages to imbue the story of St. Andrew with heroic qualities. The present study tabulates the borrowed phraseology found in Andreas to systematically assemble a portrait of Beowulf as it was known to the poet of Andreas, most likely in the ninth century. The image reconstructed reveals that the text of Beowulf at this time had the same shape it possesses today, containing all the major episodes and speeches. The patterns of borrowings also suggest that Beowulf was admired for its heroic ethos and imagery, and was likely memorized verbatim. These findings accord well with an early (eighth-century) date for Beowulf.","PeriodicalId":45201,"journal":{"name":"MODERN PHILOLOGY","volume":"120 1","pages":"287 - 311"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43540795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article offers a close reading of Jacques Lacan’s Télévision (1974), which is both a text and a filmed artifact. It takes as its starting point Lacan’s claim that Télévision was a failure. It argues that Lacan called attention to this failure in order to reflect on it as a productive force in psychoanalysis, but also in his own performance, thus making Télévision a meditation on failure that enacts the thing that it anatomizes. The article traces the contours of this “failure,” paying close attention to the paradoxes and equivocations of the text and of the film. It considers Lacan’s failure in light of his own avowed clownishness in Télévision and relates this to his theoretical reflections on the comic in the text. To understand what a rupture Télévision constituted from televisual conventions of the time, the article then situates it in relation to the traditions of televised philosophy in France, a context that has been largely disregarded in accounts of Télévision. The final two sections then bring this together under the rubric of the failure in meaning. Noting that Lacan in the early 1970s was interested in what was not working out, most notably in what he called the rapport sexuel, it argues that these failures or gaps were not reasons for despair, but instead openings for invention and innovation, including of the creation of neologisms such as linguisterie and jouis-sens, and the reworking of concepts such as gay sçavoir, which we demonstrate at work in the enigmatic final words of Télévision.
{"title":"Gaps in Transmission: Reading Lacan’s Télévision","authors":"P. Buse, R. Lapsley","doi":"10.1086/723143","DOIUrl":"https://doi.org/10.1086/723143","url":null,"abstract":"This article offers a close reading of Jacques Lacan’s Télévision (1974), which is both a text and a filmed artifact. It takes as its starting point Lacan’s claim that Télévision was a failure. It argues that Lacan called attention to this failure in order to reflect on it as a productive force in psychoanalysis, but also in his own performance, thus making Télévision a meditation on failure that enacts the thing that it anatomizes. The article traces the contours of this “failure,” paying close attention to the paradoxes and equivocations of the text and of the film. It considers Lacan’s failure in light of his own avowed clownishness in Télévision and relates this to his theoretical reflections on the comic in the text. To understand what a rupture Télévision constituted from televisual conventions of the time, the article then situates it in relation to the traditions of televised philosophy in France, a context that has been largely disregarded in accounts of Télévision. The final two sections then bring this together under the rubric of the failure in meaning. Noting that Lacan in the early 1970s was interested in what was not working out, most notably in what he called the rapport sexuel, it argues that these failures or gaps were not reasons for despair, but instead openings for invention and innovation, including of the creation of neologisms such as linguisterie and jouis-sens, and the reworking of concepts such as gay sçavoir, which we demonstrate at work in the enigmatic final words of Télévision.","PeriodicalId":45201,"journal":{"name":"MODERN PHILOLOGY","volume":"120 1","pages":"394 - 415"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45674049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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