Pub Date : 2022-06-01DOI: 10.1215/03335372-9642693
L. Ameel
{"title":"Environment and Narrative: New Directions in Econarratology","authors":"L. Ameel","doi":"10.1215/03335372-9642693","DOIUrl":"https://doi.org/10.1215/03335372-9642693","url":null,"abstract":"","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42041425","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 : 2022-04-07DOI: 10.1136/ebnurs-2021-103510
Saivash Moradi, Ali Taherinezhad Ledari
{"title":"Encouraging women to do cervical cancer screening: a secondary preventive intervention with a multitude of behavioural dimensions.","authors":"Saivash Moradi, Ali Taherinezhad Ledari","doi":"10.1136/ebnurs-2021-103510","DOIUrl":"10.1136/ebnurs-2021-103510","url":null,"abstract":"","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88232062","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 : 2022-03-01DOI: 10.1215/03335372-9470996
C. Miller
Indeterminacy is a term that has been asked to do a lot of work for literary and cultural criticism. For strictly formalist critics, it might be the quality of a text or artwork that both preserves useful ambiguity and invites participation from respondents. For criticism that challenges the status quos of social and political life, it is often the interpretive condition that can unsettle existing patterns of recognition and judgment. What this essay finds in the work of Lisa Robertson is a more situated notion of indeterminacy, one that relates indeterminacies of speech, form, and affect to the destabilizing effects that postindustrial capitalism can have and has had on cities and their inhabitants. Following a brief overview of indeterminacy as a critical concept, from New Criticism to poststructuralist theory, the essay closely reads Robertson's Occasional Work and Seven Walks from the Office for Soft Architecture (2003) as a multi-genre study in Vancouver becoming “money” and the effects of this process on work characterized as temporary or feminine. Indeterminacy becomes a double bind for the speakers of her “Office,” in that freedoms of expression, feeling, or movement fold into occasions for speculation and displacement. Finally, the essay relates Robertson's indeterminacies to recent debates about the character of avant-garde writing, arguing for a more socially and historically contingent notion of aesthetic experimentation.
{"title":"Sites of Indeterminacy in Lisa Robertson","authors":"C. Miller","doi":"10.1215/03335372-9470996","DOIUrl":"https://doi.org/10.1215/03335372-9470996","url":null,"abstract":"\u0000 Indeterminacy is a term that has been asked to do a lot of work for literary and cultural criticism. For strictly formalist critics, it might be the quality of a text or artwork that both preserves useful ambiguity and invites participation from respondents. For criticism that challenges the status quos of social and political life, it is often the interpretive condition that can unsettle existing patterns of recognition and judgment. What this essay finds in the work of Lisa Robertson is a more situated notion of indeterminacy, one that relates indeterminacies of speech, form, and affect to the destabilizing effects that postindustrial capitalism can have and has had on cities and their inhabitants. Following a brief overview of indeterminacy as a critical concept, from New Criticism to poststructuralist theory, the essay closely reads Robertson's Occasional Work and Seven Walks from the Office for Soft Architecture (2003) as a multi-genre study in Vancouver becoming “money” and the effects of this process on work characterized as temporary or feminine. Indeterminacy becomes a double bind for the speakers of her “Office,” in that freedoms of expression, feeling, or movement fold into occasions for speculation and displacement. Finally, the essay relates Robertson's indeterminacies to recent debates about the character of avant-garde writing, arguing for a more socially and historically contingent notion of aesthetic experimentation.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47191398","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 : 2022-03-01DOI: 10.1215/03335372-9471080
P. Stockwell
{"title":"The Poem as Icon: A Study in Aesthetic Cognition","authors":"P. Stockwell","doi":"10.1215/03335372-9471080","DOIUrl":"https://doi.org/10.1215/03335372-9471080","url":null,"abstract":"","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42681466","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 : 2022-03-01DOI: 10.1215/03335372-9471010
W. Sadowski
In the poetry of many nations, the interjection O! is a marker of poeticalness, a marker that contributes to the factors distinguishing poetry from colloquial speech. O! is treated not so much as an expression derived from the language in which a given poem was written (i.e., English, Italian, Polish, etc.) as a common lexeme within an international poetic language. In different countries, the interjection O! is understood in similar ways and does not require translation, even if the other parts of the poem are rendered in distinct languages. Despite the importance of the interjection in world literature, research into the semantics of O! has been limited in scope. The aim of this article is to trace the main stages of development that O! has undergone in European poetry from antiquity until the present day. The article initially discusses the semantic variants of the interjection in ancient Greek and Latin poetry. These derive from two functions of O!, functions that are described within the context of the Bakhtinian concepts of the addressee and superaddressee. Subsequently, the process in which the autonomy of this lexeme was shaped with regard to vernacular languages is considered. The examples illustrating this process have been taken from Bulgarian, English, French, German, Italian, Occitan, and Polish poetry.
{"title":"A Brief History of O!","authors":"W. Sadowski","doi":"10.1215/03335372-9471010","DOIUrl":"https://doi.org/10.1215/03335372-9471010","url":null,"abstract":"\u0000 In the poetry of many nations, the interjection O! is a marker of poeticalness, a marker that contributes to the factors distinguishing poetry from colloquial speech. O! is treated not so much as an expression derived from the language in which a given poem was written (i.e., English, Italian, Polish, etc.) as a common lexeme within an international poetic language. In different countries, the interjection O! is understood in similar ways and does not require translation, even if the other parts of the poem are rendered in distinct languages. Despite the importance of the interjection in world literature, research into the semantics of O! has been limited in scope. The aim of this article is to trace the main stages of development that O! has undergone in European poetry from antiquity until the present day. The article initially discusses the semantic variants of the interjection in ancient Greek and Latin poetry. These derive from two functions of O!, functions that are described within the context of the Bakhtinian concepts of the addressee and superaddressee. Subsequently, the process in which the autonomy of this lexeme was shaped with regard to vernacular languages is considered. The examples illustrating this process have been taken from Bulgarian, English, French, German, Italian, Occitan, and Polish poetry.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48300681","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 : 2022-03-01DOI: 10.1215/03335372-9470982
Carsten Meiner
This article sets out to rethink literary topology by way of a three-step argument. The article first critically analyzes how Curtius grounds topoi in Jung's archetypes and how Bakhtin grounds topoi in temporality. The article then proposes to think of literary topoi as originating in cultural and historical reality. At different points in time, new places, discourses, practices, and events arise, and, because of their cultural ubiquity, these cultural phenomena possess obvious conventional functions and meanings, a sort of cultural doxa. Second, however, literature constantly uses these phenomena for purposes other than the primary conventional ones. On the background of this constant literary misuse of culturally conventional phenomena, the article argues that a literary misuse, a heterodox use, is tied to the doxa of these new phenomena, a relation termed the double topology. The article demonstrates how this notion works with respect to new places (the horse carriage), discourses (gastronomy), practices (gallantry), and events (revolts). Third, the article discusses how literary history reflects upon its own heterodox topoi and the constant risk of their becoming clichés. At certain times, critical topoi themselves become clichés, and the article indicates ways in which authors have tried to rework topoi in order for them to become literary resources again.
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Pub Date : 2022-03-01DOI: 10.1215/03335372-9470968
K. Mikkonen
This article discusses the literary character's plot function as an element of the author's rhetorical strategy, and in relation to the reader's active role in responding to that strategy. The main focus will be on characterological instances in narrative fiction that facilitate the development of the novel's plot by way of the character's movement, perspective, or moving perspective. These considerations will be brought to bear on James Phelan's rhetorical approach to the fictional character's basic functions, also known as the mimetic-thematic-synthetic model (MTS model). More precisely, this article will look harder at Phelan's so-called synthetic component of character, that is, those aspects that foreground the character as a construct (rather than as a possible person or a theme), to argue that much more work can be done with this category. In the course of this discussion, Henry James's notion of a ficelle and Vladimir Nabokov's term perry will serve as complementary ideas and as a counterpoint to Phelan's synthetic component. Hence this article will ask: how can we (re)integrate the plot-helper function into the rhetorical character theory?
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Pub Date : 2022-03-01DOI: 10.1215/03335372-9470954
Sarah Copland, J. Phelan
This article proposes to revise rhetorical narrative theory's model of audiences in fiction (actual, authorial, narrative, ideal narrative, and narratee) by replacing the term/concept of the ideal narrative audience with that of the ideal narratee, defined as the audience the narrator wishes they were addressing. This revision calls attention to the various ways that authors can handle the relations between the actual narratee and the ideal narratee (the actual may—or may not—coincide with the ideal), and such variety, in turn, points to the need for a more general taxonomy of authorial uses of the narratee. This taxonomy identifies three recognizably distinct ranges along a single broad spectrum of degrees of alignment between actual and ideal narratees: (1) clear alignment, (2) uncertain alignment, and (3) non-alignment. The taxonomy also identifies two main variants within each category, based on how an author's handling of the degree of alignment guides their readers’ focus: is it primarily on the narrated, the narrating, or both? The essay demonstrates the interpretive payoffs of the taxonomy through its analysis of a wide array of case studies including Mohsin Hamid's Reluctant Fundamentalist, Andrew Marvell's “To His Coy Mistress,” Sandra Cisneros's “Barbie-Q,” and Albert Camus's Fall.
{"title":"The Ideal Narratee and the Rhetorical Model of Audiences","authors":"Sarah Copland, J. Phelan","doi":"10.1215/03335372-9470954","DOIUrl":"https://doi.org/10.1215/03335372-9470954","url":null,"abstract":"\u0000 This article proposes to revise rhetorical narrative theory's model of audiences in fiction (actual, authorial, narrative, ideal narrative, and narratee) by replacing the term/concept of the ideal narrative audience with that of the ideal narratee, defined as the audience the narrator wishes they were addressing. This revision calls attention to the various ways that authors can handle the relations between the actual narratee and the ideal narratee (the actual may—or may not—coincide with the ideal), and such variety, in turn, points to the need for a more general taxonomy of authorial uses of the narratee. This taxonomy identifies three recognizably distinct ranges along a single broad spectrum of degrees of alignment between actual and ideal narratees: (1) clear alignment, (2) uncertain alignment, and (3) non-alignment. The taxonomy also identifies two main variants within each category, based on how an author's handling of the degree of alignment guides their readers’ focus: is it primarily on the narrated, the narrating, or both? The essay demonstrates the interpretive payoffs of the taxonomy through its analysis of a wide array of case studies including Mohsin Hamid's Reluctant Fundamentalist, Andrew Marvell's “To His Coy Mistress,” Sandra Cisneros's “Barbie-Q,” and Albert Camus's Fall.","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49473583","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 : 2022-03-01DOI: 10.1215/03335372-9471024
L. Ameel
This article examines narrative engagement with strange weather and rising waters in Richard Ford's Let Me Be Frank with You (2014). It applies three terms from climate policy—adaptation, retreat, and mitigation—as heuristic concepts to approach the formal responses in the novel to a catastrophic event, Hurricane Sandy, while also considering the broader implications for the interplay between narrative form and radical climate change. The focus is on narrative forms such as catalogs, gaps in language and in the storyworld, and plotted instances of compassion. By drawing from environmental policy terms, this article suggests an analogy between how literary fiction functions and how human populations are described as behaving in the language of policy. Literature is adapting in formal terms to a changing climate; it is retreating from the effects of climate disruption, by way of a diluted language; and it is trying to find ways to soften and mitigate those effects—with mitigation approached in its first, now largely obsolete meaning of the word, as compassion. Exploring such analogies, this article emphasizes literary form's participation in a broader discursive and material meshwork of human relationships with the transforming environment, in dialogue with science and policy communications.
本文考察了理查德·福特(Richard Ford)的《让我对你坦诚》(Let Me Be Frank with You, 2014)中对奇怪天气和上涨水位的叙述。它应用了气候政策中的三个术语——适应、撤退和缓解——作为启发式概念来探讨小说中对灾难性事件“桑迪”飓风的正式反应，同时也考虑了叙事形式与激进气候变化之间相互作用的更广泛含义。重点是叙述形式，如目录，语言和故事世界中的空白，以及情节的同情实例。通过引用环境政策术语，本文提出了文学小说如何发挥作用与如何用政策语言描述人口行为之间的类比。文学正在以正式的方式适应不断变化的气候;它正在以一种淡化的语言逃避气候破坏的影响;它正试图找到软化和减轻这些影响的方法——用“同情”这个词的第一个意思(现在基本上已经过时了)来表达“减轻”。本文探讨了这些类比，强调了文学形式在更广泛的话语和物质网络中的参与，即人类与不断变化的环境的关系，与科学和政策沟通的对话。
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Pub Date : 2022-03-01DOI: 10.1215/03335372-9471066
Liesbeth Korthals Altes
{"title":"Contemporary French and Francophone Narratology","authors":"Liesbeth Korthals Altes","doi":"10.1215/03335372-9471066","DOIUrl":"https://doi.org/10.1215/03335372-9471066","url":null,"abstract":"","PeriodicalId":46669,"journal":{"name":"POETICS TODAY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41937632","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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