Pub Date : 2023-06-01DOI: 10.1215/03335372-10342155
J. Guimarães
This essay explores Ron Silliman's Universe, a serial poetic project which, according to the publisher's description, “were [the author] to live long enough, would take him three centuries to complete.” The article specifically focuses on the significance of the book's length for a general discussion of aging, poetry and temporality. One should bear in mind that Universe is not a retrospective work of synthesis but rather a present and future-oriented project. The point of departure for the article's analysis will be the following passage from Northern Soul, the second book in the series: “Page 43 / you will read / differently if / there are 94 to the book / than if there are just / 45, What about / 523 what then / little hen.” Notorious for his massive tomes of verse, Silliman establishes an analogy between the length of his life and the length of his work that, blows up conventional chronological accounts of life. In this poem, death, instead of looming on the horizon, is internalized as the point of transition from one page to the next, the death of an event being the birth of another. Everyday life thus reveals itself in all its subtle variety, its generative evanescence paradoxically enriching the life of the poet. Silliman's epic poetry is not, that is, a matter of mastery or life extension (it makes no claims to totalization or immortality) but rather one of life enchantment, achieved through a greater bardic attunement to the granularities of everyday life.
{"title":"Ron Silliman's Universe: Aging, Epic Poetry, and Everyday Life","authors":"J. Guimarães","doi":"10.1215/03335372-10342155","DOIUrl":"https://doi.org/10.1215/03335372-10342155","url":null,"abstract":"\u0000 This essay explores Ron Silliman's Universe, a serial poetic project which, according to the publisher's description, “were [the author] to live long enough, would take him three centuries to complete.” The article specifically focuses on the significance of the book's length for a general discussion of aging, poetry and temporality. One should bear in mind that Universe is not a retrospective work of synthesis but rather a present and future-oriented project. The point of departure for the article's analysis will be the following passage from Northern Soul, the second book in the series: “Page 43 / you will read / differently if / there are 94 to the book / than if there are just / 45, What about / 523 what then / little hen.” Notorious for his massive tomes of verse, Silliman establishes an analogy between the length of his life and the length of his work that, blows up conventional chronological accounts of life. In this poem, death, instead of looming on the horizon, is internalized as the point of transition from one page to the next, the death of an event being the birth of another. Everyday life thus reveals itself in all its subtle variety, its generative evanescence paradoxically enriching the life of the poet. Silliman's epic poetry is not, that is, a matter of mastery or life extension (it makes no claims to totalization or immortality) but rather one of life enchantment, achieved through a greater bardic attunement to the granularities of everyday life.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41403660","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: 10.1215/03335372-10342141
Jacob Jewusiak
Associated with disaster metaphors such as floods, avalanches, tsunamis, and icebergs, older people have come to take the symbolic form of the environmental impacts they are imagined causing. Yet even as older people are posited as the cause and imaginatively take the shape of the disaster, they are also registered as especially vulnerable to the effects of rising temperatures and extreme weather. While the tendency toward blame and care are not logically incompatible, this tension has resulted in a cultural narrative that fuels a deep sense of unfairness across generations. This article reads the sterility dystopia—a subgenre of science fiction where a global inability to have children results in aging populations and societal collapse—as registering the anxiety that arises at the intersection of age and the environment. Taking The Children of Men as a case study, I suggest that P. D. James's novel expresses the demographic dread arising from the relative shift in younger and older populations—not of a world lacking children, as we might expect, but of one catastrophized by the overabundance of the old and aging. Pushing against the link between climate activism and generational futurity, I draw on queer theory to argue that intergenerational kinship in the present privileges the values of affiliation, contingency, and immediacy that can inspire a more sustainable future.
{"title":"Queer Futures for an Aging Planet","authors":"Jacob Jewusiak","doi":"10.1215/03335372-10342141","DOIUrl":"https://doi.org/10.1215/03335372-10342141","url":null,"abstract":"\u0000 Associated with disaster metaphors such as floods, avalanches, tsunamis, and icebergs, older people have come to take the symbolic form of the environmental impacts they are imagined causing. Yet even as older people are posited as the cause and imaginatively take the shape of the disaster, they are also registered as especially vulnerable to the effects of rising temperatures and extreme weather. While the tendency toward blame and care are not logically incompatible, this tension has resulted in a cultural narrative that fuels a deep sense of unfairness across generations. This article reads the sterility dystopia—a subgenre of science fiction where a global inability to have children results in aging populations and societal collapse—as registering the anxiety that arises at the intersection of age and the environment. Taking The Children of Men as a case study, I suggest that P. D. James's novel expresses the demographic dread arising from the relative shift in younger and older populations—not of a world lacking children, as we might expect, but of one catastrophized by the overabundance of the old and aging. Pushing against the link between climate activism and generational futurity, I draw on queer theory to argue that intergenerational kinship in the present privileges the values of affiliation, contingency, and immediacy that can inspire a more sustainable future.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43130261","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: 10.1215/03335372-10342071
Elizabeth C. Barry
This article considers the form of dementia conversation as it features in literary memoirs, in sociological and drama research papers, and in theatrical works, exploring the intersubjective nature of such conversation, and in particular the way that laughter serves to structure it and connect those who engage in it. In losing our ability to remember, we also lose our ability to expect: to anticipate and organize future time. Those with dementia continue to be able to initiate, conduct, and organize conversations in time, however, and to regulate shared affect, via the “melody” of speech. We examine the ways in which certain forms of language and extralinguistic gestures remain in place when propositional speech is lost. These are forms of conversation that wield some illocutionary force, perform some action, in making ongoing relationships possible, functional, and even fulfilling. The discussion builds on the work of theater scholar Elinor Fuchs—her memoir about her mother's dementia, but also her writing about theater and the insights its formal modes have given her into dementia and ageing in general—to formulate an account of dementia language and the way it operates, as theater does, in the mode of Now.
{"title":"Dementia, Language, and Performative Force: The Case of Laughter","authors":"Elizabeth C. Barry","doi":"10.1215/03335372-10342071","DOIUrl":"https://doi.org/10.1215/03335372-10342071","url":null,"abstract":"\u0000 This article considers the form of dementia conversation as it features in literary memoirs, in sociological and drama research papers, and in theatrical works, exploring the intersubjective nature of such conversation, and in particular the way that laughter serves to structure it and connect those who engage in it. In losing our ability to remember, we also lose our ability to expect: to anticipate and organize future time. Those with dementia continue to be able to initiate, conduct, and organize conversations in time, however, and to regulate shared affect, via the “melody” of speech. We examine the ways in which certain forms of language and extralinguistic gestures remain in place when propositional speech is lost. These are forms of conversation that wield some illocutionary force, perform some action, in making ongoing relationships possible, functional, and even fulfilling. The discussion builds on the work of theater scholar Elinor Fuchs—her memoir about her mother's dementia, but also her writing about theater and the insights its formal modes have given her into dementia and ageing in general—to formulate an account of dementia language and the way it operates, as theater does, in the mode of Now.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45212729","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: 10.1215/03335372-10342183
Alice Crossley
This essay reads Tanizaki Jun'ichirō’s controversial novel Diary of a Mad Old Man (1961) for its contribution to discourses about aging masculinity and male sexuality in later life. The Diary meditates on the mental and physical vicissitudes of aging masculinity, arousal, control, and impotence, focused through the fictional diarist Utsugi's physical ailments and expression of libidinal intensities. The article argues for Tanizaki's depiction of male aging as an exercise in both disenfranchisement and agentive potential. First, it reads the aging process through aesthetic and visual strategies, which magnify the protagonist's cultivation of masochistic pleasure as a specific correlative of aging. The article demonstrates that the narrative uses the rhetoric of cinema and photography—central terms of reference in Tanizaki's work—to frame Utsugi's experiences of old age, and inform his erotic fantasies as stylized, staged performances. In conjunction with these visual modes, the novel draws on traditional Japanese aesthetics to conceptualize the potential affect and perverse empowerment of the aging experience. Second, it addresses the implications of narrative form, as the self-reflexive, first-person diary prioritizes the subjectivity of Utsugi's male old age, while the novel's final pages interrupt and thus alter the diary's significance as a private account of self-expression.
{"title":"The Aesthetics of Aging: Visual Strategies and Narrative Form in Tanizaki's Diary of a Mad Old Man","authors":"Alice Crossley","doi":"10.1215/03335372-10342183","DOIUrl":"https://doi.org/10.1215/03335372-10342183","url":null,"abstract":"\u0000 This essay reads Tanizaki Jun'ichirō’s controversial novel Diary of a Mad Old Man (1961) for its contribution to discourses about aging masculinity and male sexuality in later life. The Diary meditates on the mental and physical vicissitudes of aging masculinity, arousal, control, and impotence, focused through the fictional diarist Utsugi's physical ailments and expression of libidinal intensities. The article argues for Tanizaki's depiction of male aging as an exercise in both disenfranchisement and agentive potential. First, it reads the aging process through aesthetic and visual strategies, which magnify the protagonist's cultivation of masochistic pleasure as a specific correlative of aging. The article demonstrates that the narrative uses the rhetoric of cinema and photography—central terms of reference in Tanizaki's work—to frame Utsugi's experiences of old age, and inform his erotic fantasies as stylized, staged performances. In conjunction with these visual modes, the novel draws on traditional Japanese aesthetics to conceptualize the potential affect and perverse empowerment of the aging experience. Second, it addresses the implications of narrative form, as the self-reflexive, first-person diary prioritizes the subjectivity of Utsugi's male old age, while the novel's final pages interrupt and thus alter the diary's significance as a private account of self-expression.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45597941","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 : 2022-12-01DOI: 10.1215/03335372-10017667
Spencer Lee-Lenfield
Reexamining Flaubert's use of simile in Madame Bovary yields fresh insights into old, deep questions in the study of realism: depiction of thought, free indirect speech, the relationship between representation and reality. Barthes thought the content of a simile was ultimately merely a gesture toward the realness that it thereby signified, and Proust assumed a simile ought to be precise, singular, and novel—but Flaubert's similes actually interact with his famously ironic narration to depict a particular kind of thought and feeling on the part of his characters. They are negative similes, hollow, meant to refract the comparison backward: as much as X is like Y, X is not Y. These similes intensify and dignify what they describe, but only within the penumbra of Flaubert's characteristically ironic detachment. By setting what is the case side by side with what is not, they continually aerate the prose with a sense of the grandeur that reality fails to attain. They challenge the reader to look at simile as an ironic figure rather than as needless ornament or (pace Barthes) straightforward denotation. The ambiguous relationship of simile to reality in Madame Bovary makes it a fitting rhetorical figure through which to consider the novel itself.
{"title":"An Unreality Effect: Simile in Flaubert's Madame Bovary","authors":"Spencer Lee-Lenfield","doi":"10.1215/03335372-10017667","DOIUrl":"https://doi.org/10.1215/03335372-10017667","url":null,"abstract":"\u0000 Reexamining Flaubert's use of simile in Madame Bovary yields fresh insights into old, deep questions in the study of realism: depiction of thought, free indirect speech, the relationship between representation and reality. Barthes thought the content of a simile was ultimately merely a gesture toward the realness that it thereby signified, and Proust assumed a simile ought to be precise, singular, and novel—but Flaubert's similes actually interact with his famously ironic narration to depict a particular kind of thought and feeling on the part of his characters. They are negative similes, hollow, meant to refract the comparison backward: as much as X is like Y, X is not Y. These similes intensify and dignify what they describe, but only within the penumbra of Flaubert's characteristically ironic detachment. By setting what is the case side by side with what is not, they continually aerate the prose with a sense of the grandeur that reality fails to attain. They challenge the reader to look at simile as an ironic figure rather than as needless ornament or (pace Barthes) straightforward denotation. The ambiguous relationship of simile to reality in Madame Bovary makes it a fitting rhetorical figure through which to consider the novel itself.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42846215","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 : 2022-12-01DOI: 10.1215/03335372-10017737
Theresa Krampe, Stephanie Lotzow, Jan-Noël Thon
This article sets out to explore the playful poetics of recent indie games in terms of what could be described as metareferential interfaces. Drawing on a range of theories from literary studies, media studies, and game studies, we propose to conceptualize metareferential interfaces as interfaces that foreground and draw attention to their own mediality. They thus allow for videogame-specific forms of metareference and metalepsis to be employed as part of often quite experimental and aesthetically ambitious approaches to videogame design. Using the recent indie games Pony Island (2016) and OneShot (2016) as our core case studies, we offer an in-depth analysis of this metaization of videogames’ playful poetics, focusing primarily on three salient aspects: First, the multiplication of interfaces can lead to mise-en-abyme-like structures that highlight and reflect on the mediality of videogames while also establishing ontological boundaries between different levels of videogame storyworlds. Second, the disruption of interface functionality is a metareferential strategy that can be used to establish specific gameplay challenges and reflect on the design conventions of videogame interfaces. Third, the transgression of ontological boundaries affects not only the borders between subworlds within a videogame's storyworld but also the more fundamental distinction between what is “in the game” and what is “outside it.”
本文试图从元指称界面的角度来探讨最近独立游戏的游戏诗学。借鉴文学研究、媒体研究和游戏研究的一系列理论，我们建议将元指称界面概念化为前景界面，并引起人们对其自身媒介性的关注。因此，它们允许将特定于视频游戏的元参考和元描述形式用作视频游戏设计的实验性和美学上雄心勃勃的方法的一部分。以最近的独立游戏《Pony Island》（2016）和《OneShot》（2016，界面的多样性可以导致类似mise en abyme的结构，突出和反映视频游戏的媒介性，同时在不同级别的视频游戏故事世界之间建立本体论边界。其次，界面功能的破坏是一种元参考策略，可用于确定特定的游戏挑战，并反映视频游戏界面的设计惯例。第三，超越本体论边界不仅影响视频游戏故事世界中子世界之间的边界，还影响“游戏中”和“游戏外”之间更根本的区别
{"title":"Playful Poetics: Metareferential Interfaces in Recent Indie Games","authors":"Theresa Krampe, Stephanie Lotzow, Jan-Noël Thon","doi":"10.1215/03335372-10017737","DOIUrl":"https://doi.org/10.1215/03335372-10017737","url":null,"abstract":"\u0000 This article sets out to explore the playful poetics of recent indie games in terms of what could be described as metareferential interfaces. Drawing on a range of theories from literary studies, media studies, and game studies, we propose to conceptualize metareferential interfaces as interfaces that foreground and draw attention to their own mediality. They thus allow for videogame-specific forms of metareference and metalepsis to be employed as part of often quite experimental and aesthetically ambitious approaches to videogame design. Using the recent indie games Pony Island (2016) and OneShot (2016) as our core case studies, we offer an in-depth analysis of this metaization of videogames’ playful poetics, focusing primarily on three salient aspects: First, the multiplication of interfaces can lead to mise-en-abyme-like structures that highlight and reflect on the mediality of videogames while also establishing ontological boundaries between different levels of videogame storyworlds. Second, the disruption of interface functionality is a metareferential strategy that can be used to establish specific gameplay challenges and reflect on the design conventions of videogame interfaces. Third, the transgression of ontological boundaries affects not only the borders between subworlds within a videogame's storyworld but also the more fundamental distinction between what is “in the game” and what is “outside it.”","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46159665","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 : 2022-12-01DOI: 10.1215/03335372-10017695
Helena Van Praet
This article addresses the literary response to network forms in twenty-first-century print poetry. Through the case of Anne Carson's long poem The Beauty of the Husband (2001), it explores how contemporary poetry, whose textuality will be termed prosthetic, can engender a network aesthetic that evokes infinite connections among ideas that are analogically related. Firstly, taking its cue from recent developments in literary history and relational aesthetics, the article investigates how Carson's poem participates in a network aesthetic typical of the digital age. To this end, it situates this aesthetic in the context of an emergent metamodernism by relating the notion of connection, central to network aesthetics, to an ethos of affect and sincerity characteristic of metamodernism. The literary analysis, which focuses on five key hubs, then demonstrates how the poem never arrives at representation and yet evokes a disintegrating marriage by analogically relating it to other ideas and texts. The article concludes that Carson's poem operates by means of a poetics of delay by reconciling lyrical with conceptual impulses. Ultimately, the aim of this article is to flesh out a fuller picture of Carson's notoriously uncategorizable poetry against the background of a network aesthetic.
{"title":"“To Tell a Story by Not Telling It”: Toward a Networked Poetics of Delay in Anne Carson's The Beauty of the Husband","authors":"Helena Van Praet","doi":"10.1215/03335372-10017695","DOIUrl":"https://doi.org/10.1215/03335372-10017695","url":null,"abstract":"\u0000 This article addresses the literary response to network forms in twenty-first-century print poetry. Through the case of Anne Carson's long poem The Beauty of the Husband (2001), it explores how contemporary poetry, whose textuality will be termed prosthetic, can engender a network aesthetic that evokes infinite connections among ideas that are analogically related. Firstly, taking its cue from recent developments in literary history and relational aesthetics, the article investigates how Carson's poem participates in a network aesthetic typical of the digital age. To this end, it situates this aesthetic in the context of an emergent metamodernism by relating the notion of connection, central to network aesthetics, to an ethos of affect and sincerity characteristic of metamodernism. The literary analysis, which focuses on five key hubs, then demonstrates how the poem never arrives at representation and yet evokes a disintegrating marriage by analogically relating it to other ideas and texts. The article concludes that Carson's poem operates by means of a poetics of delay by reconciling lyrical with conceptual impulses. Ultimately, the aim of this article is to flesh out a fuller picture of Carson's notoriously uncategorizable poetry against the background of a network aesthetic.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45312988","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 : 2022-12-01DOI: 10.1215/03335372-10017681
Sophus Helle
The article proposes a new definition of philology as a systematic engagement with crises of reading, focused on the difficulties that prevent readers from gaining access to or drawing meaning from a given text, all the way from scrubbed signs to obscure ontologies. Responding to two recent interventions in the field—Philology by James Turner and World Philology by Sheldon Pollock, Benjamin A. Elman, and Ku-ming Kevin Chang—the article explores the practices, history, and current state of philology. It argues that a resurgence of philological self-reflection over the past twelve years is bringing the field into view as a global, transhistorical, and anti-disciplinary practice, spanning many centuries and continents, and encompassing a wealth of methodological tools and approaches. These new developments promise to revitalize a field that currently finds itself in disciplinary disarray, by infusing it with a global and self-critical awareness. But the vision presented by Turner and the editors of World Philology, of philology as an inherently cross-disciplinary, cross-cultural practice, necessitates a clearer delimitation of what philology is, which the present article sets out to provide.
{"title":"What Is Philology? From Crises of Reading to Comparative Reflections","authors":"Sophus Helle","doi":"10.1215/03335372-10017681","DOIUrl":"https://doi.org/10.1215/03335372-10017681","url":null,"abstract":"\u0000 The article proposes a new definition of philology as a systematic engagement with crises of reading, focused on the difficulties that prevent readers from gaining access to or drawing meaning from a given text, all the way from scrubbed signs to obscure ontologies. Responding to two recent interventions in the field—Philology by James Turner and World Philology by Sheldon Pollock, Benjamin A. Elman, and Ku-ming Kevin Chang—the article explores the practices, history, and current state of philology. It argues that a resurgence of philological self-reflection over the past twelve years is bringing the field into view as a global, transhistorical, and anti-disciplinary practice, spanning many centuries and continents, and encompassing a wealth of methodological tools and approaches. These new developments promise to revitalize a field that currently finds itself in disciplinary disarray, by infusing it with a global and self-critical awareness. But the vision presented by Turner and the editors of World Philology, of philology as an inherently cross-disciplinary, cross-cultural practice, necessitates a clearer delimitation of what philology is, which the present article sets out to provide.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":"6 4-5","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41286424","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 : 2022-12-01DOI: 10.1215/03335372-10017765
Ron Ben-Tovim
{"title":"The Literature of Absolute War: Transnationalism and World War II","authors":"Ron Ben-Tovim","doi":"10.1215/03335372-10017765","DOIUrl":"https://doi.org/10.1215/03335372-10017765","url":null,"abstract":"","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43181278","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 : 2022-12-01DOI: 10.1215/03335372-10017751
B. Richardson
{"title":"Digital Fiction and the Unnatural: Transmedial Narrative Theory, Method, and Analysis","authors":"B. Richardson","doi":"10.1215/03335372-10017751","DOIUrl":"https://doi.org/10.1215/03335372-10017751","url":null,"abstract":"","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42746825","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：