Militant Emotions in Reina Roffé’s Monte de Venus

2017 ◽  
Vol 1 (2) ◽  
pp. 39-58
Author(s):  
Erika Bondi

This article analyses the role of emotions in the formation of militant groups as represented in the novel Monte de Venus (1976) by Reina Roffé. It draws comparisons between the novel’s backdrop of Argentina’s militant movements of the 1960s and ’70s and the actual militancy in the country from that time period. This approach to emotions in literature focuses on the fictionalisation of character emotions and its role in the production of the overall tone of the novel. An important aspect of the study is the genre of the militant literature in Argentina in the mid-twentieth century and its aesthetic and ideological norms.

Text Matters ◽  
2018 ◽  
pp. 386-410
Author(s):  
Abdolali Yazdizadeh

Hyperreality is a key term in Jean Baudrillard’s cultural theory, designating a phase in the development of image where it “masks the absence of a profound reality.” The ambiance of Joseph Heller’s Catch-22 (1961) closely corresponds to Baudrillard’s notion of the hyperreal as images persist to precede reality in the fictional world of the novel. Since for Baudrillard each order of simulacra produces a certain mode of ideological discourse that impacts the perception of reality, it is plausible that the characters of this fictional context should be ideologically impacted by the hyperreal discourse. From this vantage point it is possible to have a new critical assessment of Yossarian’s (protagonist) antiheroic stance and study the role of the “business of illusion,” whose ideological edifice is based on the discourse of the hyperreal, on his antiheroic stance and actions. By drawing on Baudrillard’s cultural theory this paper aims to read Heller’s novel as a postmodern allegory of rebellion against the hyperreality of the twentieth-century American life and trace its relevance to modern-day U.S.


Author(s):  
Georgina Colby

Chapter 2 addresses Acker’s practice of collage, and the anxiety of self-description. Blood and Guts in High School is positioned in relation to both the Dadaist collage and montage practices of artists such as Hannah Höch at the beginning of the twentieth century, and the subversive publications of the 1960s and 1970s: mimeographed magazines, and the punk and post-punk medium of Xeroxed publications. The original manuscript of Blood and Guts in High School housed in the archive possesses a different materiality to the published version of the novel. The materiality of the text in its collage and typographic experimentation is situated in a counter position to the language and hegemonic discourses within which Janey, the voice of the text, is imprisoned. Drawing on Acker’s practices of illegibility, and Denise Riley’s work on language and affect, the chapter argues that Blood and Guts in High School, through its experimental form, reveals the anxiety of self-description that Janey experiences within conventional language structures. Illustration, experimental typography, non-referential language, and the use of the poetic, function in Blood and Guts in High School as sites of an alternate language that emerges through compositional form and experimental forms of iteration.


Author(s):  
Sinéad Moynihan

This chapter considers the extent to which the Returned Yank surfaces in narratives treating of land acquisition, distribution, ownership and development in Ireland in the second half of the twentieth century. It identifies two overlapping motifs in Returned Yank narratives that have been stated, restated and reworked in various historically-contingent ways from at least the 1930s, through the Lemassian turn, through the Celtic Tiger years: first, the extent to which the Returned Yank who returns to Ireland to buy property symbolises widespread ambivalence concerning the role of the post-independence Land Commission in Irish life; second, the degree to which narratives of land-purchasing (or ‘land-grabbing’) Returned Yanks become abstracted in the 1960s and beyond to the extent that s/he (usually he) comes to symbolise U.S. investment in Ireland more generally.


2020 ◽  
pp. 185-205
Author(s):  
T. V. Yudina ◽  
V. O. Fedorovskaya

The article is devoted to the role of experiment in the process of discourse formation as a linguistic phenomenon. The object of the study is the discourse initiated by the largest Austrian writer of the twentieth century, Robert Musil. The aim of the study is a discursive analysis of the philological and literary-critical interpretations of the novel “A Man Without Qualities”, which is a central fragment of the “Musil’s Discourse”. It is noted that the Musil’s discourse unfolding during the century, is formed by numerous participants representing various groups of subjects: literary scholars, writers, cultural experts, psychologists and literary critics. Particular attention is paid to the bipolar structure of the Musil’s discourse as its main characteristic. It is shown that the leading German critic Marcel Reich- Ranicki set a new direction for the development of Musil’s discourse. The results of the analysis of Musil’s discourse at the level of its content, as well as at the levels of strategies and means of implementation are presented. The main strategies of the studied fragment of the discourse are identified - the deconstruction strategy and the conservation strategy, implemented in the tactics of invective, tactics of positive presentation and tactics of support. It is proved that the idea of the experiment laid down by Musil in the basis of the novel “A Man Without Qualities” is transposed to the Musil’s discourse as a whole and turns it into an object of experiment.


2019 ◽  
Vol 21 (2) ◽  
pp. 252
Author(s):  
Mónica Fernández Pais

En este artículo abordaremos algunas cuestiones relacionadas con la Educación Inicial y el protagonismo de las mujeres en la misma en los albores de la segunda mitad del siglo XX. Nos interesa analizar cómo se constituye un modo de ser “maestra jardinera” y para ello debemos remontarnos a los aportes de los primeros pensadores que advertían sobre el lugar protagónico de la madre en la construcción de una sociedad nombrada como educada. Las prescripciones para ser mujer y madre parecen influir de modo decisivo en las representaciones acerca del ser “maestra jardinera".. MULHERES E EDUCAÇÃO DA PRIMEIRA INFÂNCIA NA ARGENTINA NA DÉCADA DE 1960 Neste artigo, abordaremos algumas questões relacionadas à Educação Infantil e o papel da mulher no início da segunda metade do século XX. Interessa-nos analisar como se constitui um modo de ser "jardineiro mestre" e, para isso, devemos voltar às contribuições dos primeiros pensadores que alertaram sobre o lugar protagônico da mãe na construção de uma sociedade denominada de educada. As prescrições de ser mulher e mãe parecem ter influência decisiva sobre as representações de ser professora dos mais jovens, registradas nas fontes primárias e testemunhos da história oral. Palavras-chave: Mulher; Professor de jardim de infância; Jardim de infância. WOMEN AND EDUCATION OF FIRST CHILDHOOD IN ARGENTINA IN THE 1960S Abstract: in this article we will address some issues related to Early Education and the role of women in it at the dawn of the second half of the twentieth century. We are interested in analyzing how a way of being "master gardener" is constituted and, for that, we must go back to the contributions of the first thinkers who warned about the protagonic place of the mother in the construction of a society named as educated. The prescriptions for being a woman and a mother seem to have a decisive influence on the representations about being a teacher of the youngest ones, as recorded in the primary sources and testimonies of oral history. Keywords: Woman; Kindergarten teacher; Kindergarten.


eTopia ◽  
2010 ◽  
Author(s):  
Patricia Ana Marquez

When discussing the emergence of New Historicism in American scholarship, it is imperative to assess its origins and influences. Mikhail Bakhtin’s exploration of the multiples of languages within the novel and Michel Foucault’s analysis of the role of the author in texts both catapulted the development of New Historical scholarship. Today, this method of scholarship approaches the author as a non-autonomous agent subjected by the multiple social, political, and cultural forces of his or her era. Similarly, literature is perceived as an art form not unique from others and should be analyzed to point toward overarching power structures to the same degree as any other mode of representation. In considering the author as a social construct, many New Historicists neglect to perceive the author as a potential formulator or modifier of reigning ideology. The fact of the matter is that literature is able to shape the ideology of a society, not merely represent it. In viewing the author as a construct of his time period, critics fail to attempt to determine which literary works were revolutionary in their ability to manipulate and change a given society’s underlying modes of thinking and practice.


2020 ◽  
Vol 13 (2) ◽  
Author(s):  
Veijo Pulkkinen

This article examines the role of the typewriter in the genetic process of the novel Vuosisatain vaatimus (1918) by the Finnish novelist Jalmari Finne (1874–1939). Finne is a rare example of an early twentieth-century author who mastered touch typing and composed directly on a typewriter. He claimed that he used the typewriter because it enabled him to keep up with his thinking, a claim that challenges Friedrich Kittler’s (1990, 193) thesis that the most remarkable feature of the typewriter is not its speed but its “spatially and discrete signs”. A genetic examination of Finne’s typescripts suggests that he had developed generative typing into a kind of  “blind revision” in that he did not read and correct previous drafts but rather inserted a blank paper in the machine and typed an altogether new version of the text without copying the previous version.  


Author(s):  
Raffaele De Berti ◽  
Elisabetta Gagetti

In Italy, from the beginning of the twentieth century, illustrated editions of Quo vadis multiply, starting from that of Treves with drawings by Minardi (1901), down to the popular edition by ‘Gloriosa’ (1921). Related paratexts from the novel and its two cinematic adaptations by Guazzoni (1913) and D’Annunzio–Jacoby (1924) flank these numerous illustrated editions, such as a series of photosculptures by Mastroianni and postcards displaying scenes from the films. Sienkiewicz’s novel itself works on several levels, each one involving a large audience: from a popular one to educated readers. The illustrated editions and postcard series will be dealt with as paratexts, analysed not in terms of their aesthetics or fidelity to the plot but as elements widening the interpretation of Quo vadis in the context of Italian society and culture of that time, and taking into consideration the expectations of an Italian audience. Placed in editions of the novel, the iconographic choices displayed in the illustrations play the role of glosses, or even act as the voices of readers/viewers. Thanks to these paratexts, the novel gains new meanings. Our inquiry has been limited to the period 1900 to 1930, to coincide with the end of the silent-film era and the fading of the echo caused by D’Annunzio and Jacoby’s film. The two films will be the constant iconographic reference point because of their accumulation of all the preceding illustration strategies for Quo vadis and their influence on the subsequent typology of illustrations in a continuous circulation of media.


Author(s):  
Adam Patrick Bell

Chapter 2 discusses the role of the producer, the concept of instrumentality, and how the recording studio has come to be conceptualized as an instrument since the mid-twentieth century. As exemplified by the practices of producers in the 1950s (Jerry Leiber and Mike Stoller) and the 1960s (Phil Spector, the Beach Boys’ Brian Wilson, and Motown’s Berry Gordy), early iterations of the studio as musical instrument entailed a collaborative process of working with musicians and studio personnel. In the early 1970s playing the studio as musical instrument took on a new meaning in the hands of Jamaican dub producers like King Tubby, who forewent working with musicians in the studio and instead reimagined and remixed prerecorded tracks by playing the equipment of the studio. This approach was furthered by hip-hop producers in New York, notably the Bomb Squad, who incorporated the sampler into their studio-playing practices. Finally, a glimpse into the practices of Max Martin demonstrates that in contemporary music production DAWs are the de facto instrument.


2020 ◽  
Vol 35 (1) ◽  
pp. 165-177
Author(s):  
Mohammed Bashir Salau

Until the second half of the twentieth century, the role of religion in Africa was profoundly neglected. There were no university centers devoted to the study of religion in Africa; there was only a handful of scholars who focused primarily on religious studies and most of them were not historians; and there were relatively few serious empirical studies on Christianity, Islam, and African traditional religions. This paucity of rigorous research began to be remedied in the 1960s and by the last decade of the twentieth century, the body of literature on religion in Africa had expanded significantly. The burgeoning research and serious coverage of the role of religion in African societies has initially drawn great impetus from university centers located in the West and in various parts of Africa that were committed to demonstrating that Africa has a rich history even before European contact. Accordingly scholars associated with such university centers have since the 1960s acquired and systematically catalogued private religious manuscripts and written numerous pan-African, regional, national, and local studies on diverse topics including spirit mediumship, witchcraft, African systems of thought, African evangelists and catechists, Mahdism, Pentecostalism, slavery, conversion, African religious diasporas and their impact on host societies, and religion and politics. Although the three works under review here deal with the role of religion in an African context, they mainly contribute to addressing three major questions in the study of religion and politics: How do Islam and other religious orientations shape public support for democracy? What is the primary cause of conflict or religious violence? What strategies should be employed to resolve such conflicts and violence?


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