The Formal Experiment and Modernity of Liberation in the Late 1950s

Eomunhak ◽  
2020 ◽  
Vol 148 ◽  
pp. 273-301
Author(s):  
Seung-Hyun Lee
Keyword(s):  
Author(s):  
Alice Wood

This chapter traces the development of Woolf’s late feminist politics and aesthetic experimentalism, focusing on her penultimate and final novels, The Years (1937) and Between the Acts (1941), and her anti-war pamphlet, Three Guineas (1938). It reads across these texts and Woolf’s wider writings from 1933–1941, including essays, unpublished drafts, and her fictional biography Flush (1933), to identify key strands of social and political enquiry in Woolf’s late works. The chapter pays particular attention to Woolf’s late analysis of the role of art in society and her evolving feminist-pacifist critique of the links between patriarchy, nationalism, fascism, and war. Rejecting a narrative of creative decline, the chapter highlights the productive relationship between political engagement and formal experiment in Woolf’s late works.


Author(s):  
Louis de Paor

This chapter explores the parallels and disjunctions between Máirtín Ó Cadhain and Flann O’Brien, with particular reference to the extent to which formal experiment in both writers owes as much to the specific circumstances of Irish culture, politics, and language in the middle decades of the twentieth century as it does to European modernism and postmodernism. The chapter examines the centrality of both writers’ detailed knowledge of the Irish language and its narrative traditions to their experimental prose fictions. The chapter argues that Ó Cadhain’s insight into lives blighted by economic injustice and bureaucratic tyranny has lost little of its political urgency in the half-century since his death, while Ó Nualláin’s work continues to deride a world in which absurdity insists on being taken seriously and the distortion of language is a defining attribute of power.


Author(s):  
George Oppitz-Trotman

The closing scene of Hamletentangles the play’s tragedy in a series of problems relating to intention, accident, and physical dexterity. Showing how many of the epistemological difficulties intrinsic to the play’s climax arise from legal and social issues around the status and purpose of the early modern duel, this chapter argues that Shakespeare used the occasion of swordplay to launch a daring formal experiment. Hamlet’s subjectivity disappears into the fencing-match, and it is uncertain whether he achieves his revenge against Claudius by accident, in spontaneous reaction, or with full intent. The sovereignty of Hamletthe artwork is thus connected inextricably to its realization on the stage. For it is only in a specific performance of Hamlet that the problem of Hamlet’s intention can be provisionally resolved.


1974 ◽  
Vol 39 (1) ◽  
pp. 83-91
Author(s):  
Erica Metzig ◽  
Steven Rosenberg ◽  
Mark Ast

197 naive undergraduate students indicated aesthetic preferences for the backward inclination or the forward inclination of each of four pictures of faces randomly selected. Two were pictures (photograph or line drawing) of the faces of famous artists, the other two of famous scientists. The pictured faces were inclined 7° backward and forward of the upright on the horizontal axis. The criterion of aesthetic preference was unification of the features of the face. Pretesting with trained Ss had established a prediction of preference for the backward inclination of pictures of the artists' faces, those of Tolstoy and Ibsen, and a prediction of preference for the forward inclination of the pictures of the faces of the scientists, Copernicus and Kepler. In the formal experiment the naive Ss gave confidence ratings of their backward vs forward judgments of each pictured face. When Ss' arbitrary judgments are discounted, predictions for three of the four pictured faces are sustained. Some support is lent to Schlesinger's claim that contrasting properties of the faces of artists and scientists determine Ss' preference for the backward inclination of pictures of artists' faces and the forward inclination of scientists' faces. The results encourage expanded study of asymmetry in orientation of faces and refinement of methodology.


2016 ◽  
Vol 5 (1) ◽  
pp. 87-105
Author(s):  
王永 德

AbstractA key index to learners’ proficiency level of a second language, the comprehension speed of sentences, is a pivotal factor that determines the choice of teaching method which may suit the second language learners in their learning of specialty courses. From the representation of inner knowledge of a second language and the character of its process, some researchers describe a quickening tendency of second language process speed during the acquisition of the language. With respect to the reason why the change of process speed occurs, however, researchers have not explained the difference between a learner’s mother tongue and second language, which may be important in practice. This study explores increasing speed of foreign students’ comprehension of Chinese sentences from the perspective of inhibition of processing.In this experiment, there are four groups of subjects, twenty in each and all paid for their participation. Three groups are native English, Japanese and Korean speakers, and the other group is Mandarin Chinese speakers selected as comparison. Ten constructions of Chinese sentences are chosen as the test materials, including three subject-verb-object constructions (zhu dong bin ju), subject-verb-agent construction (shi bin ju), two topic-comment constructions, two ba constructions, bei construction, and bei-ba compound construction. The six native Mandarin Chinese speakers, who do not actually participate in the experiment, score all the sentences in the experiment in terms of grammaticality. All the sentences, which are programmed, are presented one by one at random on the screen of a Pentium IV laptop, each followed by three possible answers about the actor of the action described in the sentence. The subjects should choose one answer among the three as accurately and quickly as possible by pressing a certain key on the keyboard. There are some sentences for pretesting before the formal experiment. In the formal experiment, reaction time and subject’s answer of each sentence are self-recorded. Reaction time and percent correct for each construction of Chinese sentences is calculated after the experiment. The post hoc multiple comparison tests are performed for the reaction time of each construction of Chinese sentences separately.SPSS analysis shows that: (1) there is a highly significant difference (P≈0.000﹤0.001) between all the groups of foreign students and the native Chinese speakers in the comprehension of all ten constructions of Chinese sentences except one of the topic-comment constructions (zhu ling ju) (P=0.018). (2) there is a significant difference (P﹤0.05) between the native English speakers and the native Japanese or Korean speakers in comprehending seven of the ten constructions of Chinese sentences.Compared the comprehension speed of sentences of foreign students when their Chinese knowledge is at the intermediate level with the primary level, the conclusions of this research are as follows:Firstly, the foreign students require to inhibit less and less inapposite knowledge in comprehending Chinese sentences with their improvement in Chinese knowledge, but they are less skilled than the Chinese students even if their Chinese knowledge is at the intermediate level; there is significant difference between the foreign students and the Chinese students. These results suggest that, even if foreign students’ Chinese ability reaches the intermediate level, they also require a separate organization to study. The effect would not be good if they were put together with native Chinese students to study professional courses.Secondly, when the foreign students are at the intermediate level of Chinese knowledge, their inhibition of inapposite knowledge is also related to their native languages in different typologies; there is significant difference between the students whose native language is English and those whose native languages are Japanese and Korean. But the difference between the two different categories students are diminished when their Chinese knowledge is at the intermediate level. These results suggest that, when the foreign students have a high level of Chinese, they could be organized to teach according to their actual differences, teaching content should be targeted for specific learners. The teacher should strengthen the grammar rules which are difficult for specific learners, increase the frequency of language input and practice.


2020 ◽  
pp. 9-37
Author(s):  
Thomas Grey

The last of Felix Mendelssohn’s series of popular and influential concert overtures, the Overture to the Tale of the Fair Melusina of 1835 remains the least familiar of these works. It is also the most unusual with regard to formal design in its purposeful confounding of introduction and sonata-form elements alongside the dialogic relation of clearly gendered thematic materials. Such calculated ‘deformation’ of classic and early Romantic sonata form has been understood as a means of generating a kind of musical-narrative content, though the precise relation of formal experiment to such narrative content has remained elusive. This chapter reconsiders the problematic relation of experimental formal procedure to the narrative dimension and the role this may have played in the composer’s subsequent abandonment of the quasi-programmatic concert overture genre, despite his unparalleled artistic success in the field.


Author(s):  
Alison James

This chapter argues that Perec’s engagement with the Oulipo at a crucial moment in the group’s history crystallizes the political potential of the Oulipian project, and determines the continuing significance of the group for today’s writers. Perec develops a mode of formal experiment that is perhaps ‘not so very anti’ when compared to the radically oppositional stance of the avant-garde, but which burrows beneath surfaces, exposing hidden determinisms and unexpected coincidences in the fabric of social life. Oulipian constraint thus operates, to borrow Jacques Rancière’s expression, as a ‘redistribution of the sensible’ that opens up the possibility of new forms of life.


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