Rhetoric and Affect in Bilingual Latinx Literature

2018 ◽  
pp. 306-329
Author(s):  
Matylda Figlerowicz ◽  
Doris Sommer
Keyword(s):  
William Carlos Williams ◽  
Gloria Anzaldua ◽  
Political Discussion ◽  
Guillermo Cabrera Infante ◽  
Ana Lydia Vega ◽  
Rhetorical Figures ◽  
Aesthetic Pleasure ◽  
New Space ◽  
Genre Conventions ◽  
Constructing Knowledge

Latinx writers cross boundaries between languages, renovating the experience both of language and of literature. This article takes up the invitations of several creative/disruptive artists: Víctor Hernández Cruz, Guillermo Cabrera Infante, Ana Lydia Vega, William Carlos Williams, Gloria Anzaldúa, and Tino Villanueva. The analysis shows how bilingualism transforms rhetorical figures and affective structures, arguing that metonymy—understood as contiguity and as desire—is a predominant figure of bilingualism: a figure of almost arbitrary coincidence, an unintended intimacy that writers exploit. Through rhetorical and affective gestures, bilingualism alters genre conventions and opens a new space for aesthetic pleasure and political discussion, which requires and forms an alert audience with new ways of reading. The essay traces the visions of future (and its fantasies) and of past (and its memories) from the perspective of bilingualism, showing how operating between languages allows for new ways of constructing knowledge.

scholarly journals Non-conventional figurative language as aesthetics of everyday communication

2016 ◽  
Vol 6 (2) ◽  
pp. 243-275 ◽  
Author(s):  
Lena Wimmer ◽  
Ursula Christmann ◽  
Elisabeth Ihmels
Keyword(s):  
Figurative Language ◽  
Semantic Differential ◽  
Cognitive Effort ◽  
Aesthetic Appreciation ◽  
Main Hypothesis ◽  
The Core ◽  
Rhetorical Figures ◽  
Aesthetic Pleasure ◽  
Exploratory Data ◽  
Everyday Communication

This study focuses on the emotional aesthetic appreciation of figurative language, a dimension which has often been neglected in experimental psycholinguistics. Our goal was to demonstrate that non-conventional figurative utterances are evaluated as more aesthetically pleasing although they are cognitively more demanding than conventional rhetorical figures. This hypothesis was tested for three main types of figurative language (metaphors, irony and idioms) in three separate surveys. Participants assessed utterances by means of a questionnaire which comprised several semantic differential items. The postulated covariation of non-conventionality and cognitive effort as well as of non-conventionality and aesthetics could be clearly established for metaphors and for irony. For idioms we could only partially provide this evidence. However, in a combined sample for all figurative language forms (compiled from the three studies) the main hypothesis was again confirmed. Thus, the results demonstrate that non-conventional variants of figurative language must be considered as the core of figurative aesthetics. Furthermore, our exploratory data gave evidence of an aesthetic paradox: the cognitive costs of understanding conventional figurative language reduce aesthetic pleasure, while in the case of non-conventional rhetoric figures the enhanced cognitive effort is accompanied by an increase in aesthetic pleasure.

Translating in the contact zone

2021 ◽  
Author(s):  
Mª Carmen África Vidal Claramonte
Keyword(s):  
Contact Zone ◽  
Gloria Anzaldua ◽  
Sandra Cisneros ◽  
Ana Castillo ◽  
Cherrie Moraga ◽  
Ana Lydia Vega ◽  
Esmeralda Santiago ◽  
Hybrid Language ◽  
Pat Mora ◽  
The U.S

Abstract The purpose of this article is to analyze the hybrid language used in the U.S. by a generation who think brown and write brown. I am referring to the so-called one-and-a-halfers, a generation that includes writers such as Gloria Anzaldúa, Cherríe Moraga, Sandra Cisneros, Pat Mora, Ilan Stavans, Ana Lydia Vega, Ana Castillo, Helena Viramontes, Esmeralda Santiago, or Tato Laviera, to name but a few. I aim to analyze how many migrants and refugees use language in a way that destroys consensus. It is in these spaces where the migration movements of the multiple souths talk back in a weird language which the Establishment fears. In these circumstances, translation becomes a tool to raise questions that disturb the universal promises of monolingualism.

Seti Space Missions

1997 ◽  
Vol 161 ◽  
pp. 761-776 ◽  
Author(s):  
Claudio Maccone
Keyword(s):  
Electromagnetic Waves ◽  
Space Missions ◽  
Gravitational Lens ◽  
The Sun ◽  
Space Antenna ◽  
Focal Distance ◽  
Large Space ◽  
The Earth ◽  
Space Antennas ◽  
New Space

AbstractSETI from space is currently envisaged in three ways: i) by large space antennas orbiting the Earth that could be used for both VLBI and SETI (VSOP and RadioAstron missions), ii) by a radiotelescope inside the Saha far side Moon crater and an Earth-link antenna on the Mare Smythii near side plain. Such SETIMOON mission would require no astronaut work since a Tether, deployed in Moon orbit until the two antennas landed softly, would also be the cable connecting them. Alternatively, a data relay satellite orbiting the Earth-Moon Lagrangian pointL2would avoid the Earthlink antenna, iii) by a large space antenna put at the foci of the Sun gravitational lens: 1) for electromagnetic waves, the minimal focal distance is 550 Astronomical Units (AU) or 14 times beyond Pluto. One could use the huge radio magnifications of sources aligned to the Sun and spacecraft; 2) for gravitational waves and neutrinos, the focus lies between 22.45 and 29.59 AU (Uranus and Neptune orbits), with a flight time of less than 30 years. Two new space missions, of SETI interest if ET’s use neutrinos for communications, are proposed.

Readies for Bob Brown's Machine

2020 ◽  
Author(s):  
Robert Carlton Brown
Keyword(s):  
Text Messaging ◽  
Gertrude Stein ◽  
Ezra Pound ◽  
William Carlos Williams ◽  
Public Attention ◽  
Avant Garde ◽  
Internet Media ◽  
Facsimile Edition ◽  
Viewing Screen ◽  
Writing Technology

This is the much-anticipated new edition of the important volume of avant-garde writing, Readies for Bob Brown's Machine. The original collection of Readies was published by Brown’s Roving Eye Press in 1931. Despite including works by leading modernist writers including Gertrude Stein, Ezra Pound, William Carlos Williams, Kay Boyle, F.T. Marinetti, and 35 other writers and artists, this volume has never been re-issued. Like the ‘talkies’ in cinema, Brown’s machine and the ‘readies’ medium he created for it proposed to revolutionise reading with technology by scrolling texts across a viewing screen. Apart from its importance to modernism, Brown’s research on reading seems remarkably prescient in light of text messaging, e-books, and internet media ecologies. Brown’s designs for a modernist style of reading, which emphasised speed, movement, and immediacy, required a complete re-design of reading and writing technology. Complete with a new Preface by Eric White and a new Introduction and a separate chapter on the contributors by Craig Saper, this critical facsimile edition restores to public attention the extraordinary experiments of writing readies for a reading machine.

Celluloid Bohemia? Ken Russell's Biopics of Visual Artists

2015 ◽  
Vol 12 (4) ◽  
pp. 479-495 ◽  
Author(s):  
Vito Adriaensens ◽  
Steven Jacobs
Keyword(s):  
Visual Artists ◽  
Artistic Creation ◽  
Dante Gabriel Rossetti ◽  
Critical Commentary ◽  
Artistic Genius ◽  
Genre Conventions

Few directors are so closely associated with the genre of the artist biopic as Ken Russell who made several films dedicated to composers, dancers and writers. Only three of these, however, have visual artists as their protagonists: Always on Sunday (1965), Dante's Inferno (1967) and Savage Messiah (1972), dealing with Henri ‘Le Douanier’ Rousseau, Dante Gabriel Rossetti and Henri Gaudier-Brzeska respectively. There has also been relatively little critical commentary on these films compared with the discussion devoted to Russell's films dealing with the lives of composers. This article attempts to remedy this situation by considering the ways in which Russell tackles some of the thematic and formal challenges inherent to the genre of the artist biopic, such as the representation of the artist's personality, the visualisation of the process of artistic creation, and the relation between the style of the film and that of the artist portrayed. We will argue that, to a large extent, Russell's protagonists in these films conform to the romantic stereotype of the tormented and alienated artist. However, and perhaps contrary to what one would associate with the director, we will demonstrate that Russell's biopics also demystify this cult of artistic genius by focusing on the mundane or laborious activities involved in the process of artistic creation, which is at odds with genre conventions that normally glorify this process.

‘Out Past / Self-Dramatization’: Maurice Scully's Several Dances

2016 ◽  
Vol 46 (1) ◽  
pp. 105-118
Author(s):  
Romana Huk
Keyword(s):  
Twentieth Century ◽  
William Carlos Williams ◽  
The Self ◽  
Avant Garde ◽  
George Oppen ◽  
American Poets

What has lyric to do with any radical phenomenology's choreography? Maurice Scully in Several Dances asks that question, as he has for years now, alongside other poets of Ireland's avant-garde whose ‘distinguishing (not inhibiting) feature’, as Sarah Bennett writes (acknowledging the work of Alex Davis and Eric Falci before her) is that in it ‘the lyric subject persists’ – in tandem with, this essay argues, what she names ‘an interest in perception … [which] is perhaps the most compelling commonality in these poets' work’. What distinguishes Scully's from the lyric phenomenology of American poets from William Carlos Williams (invoked throughout the volume) to George Oppen (also invoked) is that he queries existentialism's ‘singular’ approach to phenomena, achieved as Heidegger thought through the phenomenological ‘bracketing’ of individual (and communal) preconceptions from the perception of things. Cosmic – even theological – speculation enters in as Scully's poems move out past both self-centered lyric and twentieth-century cancellations of all preconceptions in the ‘limit-thinking’ and being-toward-death that phenomenology proposed for seeing past the self. Yet Scully works with mortality always in his sights too as he sings ‘the Huuuman / Limit-at-tation Blues’ (p.118) and, more vertiginously, considers both the undelimitability and the fragility of us.

Sign in / Sign up

Export Citation Format

Share Document