Literature Compass最新文献

This article seeks to account for the phenomenon where cultural productions are able to transcend different chronotopes and masquerade in myriad forms while sustaining an illusion of itself as a text. Using the Barthian distinction between work and Text as its framework, the article argues that multimodal semiotics offers a theoretically viable perspective on the global circulation of cultural artifacts by way of the concepts of memes, distribution, resemiotization, and assemblage. The central argument is this: what we call a text in common parlance is in fact a node within a networked assemblage of individually constituted works loosely connected through a substrate recognizability of memes. Operating at the level of this network is the Barthian Text that is always in-progress and can never really be completed. The article concludes by proposing that with the imminence of Web 5.0 and in light of the ever-pervasive influence of artificial intelligence in cultural production, it is imperative that we adopt nonlinear thinking to understand the shifting semioscapes in digital space and their impact on contemporary textuality.

Social network analysis that draws upon the correspondence of writers has the potential to indicate aspects of the writers' habitus, that is, the economic, social and cultural capital represented by the relations between authors, poets and dramatists, and their correspondents. Social network analysis can visualise and reveal otherwise covert aspects of the field of literary activity. In particular, it can show the flow of cultural, symbolic, social and economic capital through the literary ecosystem. The article presents an introduction to social network analysis, describes a modest case study, and identifies possible future research directions.

Based on the question of the representability of economy and economics in audiovisual media, developments on the financial markets have often been discussed as a depiction problem. The abstractness and complexity of economic interrelations seem to defy classical modes of storytelling and dramatization. Nevertheless, public opinion about economic changes and dependencies crucially relies on audiovisual media. But how can the public communicate in images, sounds, and words about forces that are out of sight and out of reach, and can supposedly only be adequately grasped by experts? In a case study on audiovisual images of the global financial crisis (2007–), this paper tracks and analyzes a recurring motif: the staging of expert knowledge as close-ups of expressive faces vis-à-vis computer screens in television news, documentaries, as well as feature films. It draws on the use of digital tools for corpus exploration (reverse image search) and the visualization of video annotations. By relating and comparing different staging strategies by which these “broker faces” become embodiments of turbulent market dynamics, the paper proposes to not regard them as repeated instantiations of the same metaphor, but as a developing web of cinematic metaphors. Different perspectives (news of market developments or historical accounts of crisis developments) and affective stances toward the global financial crisis are expressed in these variations of the face-screen constellation. The paper thus presents a selection of different appearances of “broker faces” as a medium for an audiovisual discourse of the global financial crisis. A concluding analysis of a scene from Margin Call focuses on its specific intertwining of expert and screen as an ambivalent movement figuration of staging insight. Between the feeling of discovery (of a potential future threat) and the sense of being haunted (by a menacing force), the film stages the emergence of a “broker face” in an atmospheric tension between suspense and melancholy. We argue that the film thereby reframes the motif and poses questions of agency, temporality, and expert knowledge.

This article mounts an initial exploratory engagement with the weird fiction of Henry S. Whitehead, framed by American imperial expansion into the Caribbean in the interwar years. It situates Whitehead and his work within the wider historical context and shows how Whitehead himself used and played with history as part of his fiction. The article considers the role of light in Whitehead's fiction and imperial projects, as well as the way that Whitehead's work, as horror fiction, both shapes and seeks to dispel notions of the Caribbean as a space of horror. As well as offering some initial conclusions, the article seeks to open further lines for future investigation.