The Afterlife of Princess Ka‘iulani

2018 ◽  
pp. 113-144
Author(s):  
Stephanie Nohelani Teves
Keyword(s):  
Close Reading ◽  
Kanaka Maoli ◽  
Nationalist Movement ◽  
Untimely Death

“The Afterlife of Princess Kaʻiulani” examines the performance of the memory of one of Hawaiʻi’s most beloved figures, providing a close-reading of a play, a film, and a ghost tour. These sites offer us different understandings of not only the ongoing “aloha” that people experience through the performance of Princess Kaʻiulani’s memory, but ultimately the kaumaha (sadness) that Hawaiians experience because of the potentiality that was not fully realized as a result of Kaʻiulani’s untimely death. The constant performance of Kaʻiulani’s story functions as a form of aloha that reminds Kānaka Maoli of our ongoing connection to our aliʻi (royalty) that is buttressed by a modern thriving cultural nationalist movement.

Bound in Place

2018 ◽  
pp. 145-169
Author(s):  
Stephanie Nohelani Teves
Keyword(s):  
Short Story ◽  
Sense Of Belonging ◽  
Close Reading ◽  
Kanaka Maoli ◽  
Nationalist Movement ◽  
Kinship Networks ◽  
The Past ◽  
Cultural Performances

This chapter analyzes what it looks like when aloha comes home from the Hawaiian diaspora. I perform a close reading of a short story in the book, This is Paradise (2012). In the past fifteen years, the number of Kānaka Maoli living outside of Hawaiʻi has increased forty percent, thus creating a division between on-island Kānaka Maoli and those living in the diaspora. This division is exacerbated by a growing cultural nationalist movement that prioritizes land-based forms of Indigeneity. Focusing on the story, “The Old Paniolo Way” to provide a close reading of the quotidian spaces where our cultural performances and interactions support a more inclusive sense of belonging that is not landlocked or tied to touristic visions of Hawaiianness. These spaces are contingent on and maintained through performing aloha and other forms of community recognition. Rather than emphasize an eventual homecoming as the solution to the diaspora, these stories offer an opportunity to animate the kinship networks and Indigenous understandings of place, history, and time that are performed in the diaspora.

scholarly journals Galdós' Doña Perfecta and Turgenev's Fathers and Sons: Two Interpretations of the Conflict between Generations

PMLA ◽  
1971 ◽  
Vol 86 (1) ◽  
pp. 19-24
Author(s):  
Vernon A. Chamberlin ◽  
Jack Weiner
Keyword(s):  
Benito Perez Galdos ◽  
Close Reading ◽  
Common Theme ◽  
The West ◽  
Untimely Death ◽  
Fathers And Sons ◽  
Benito Pérez Galdós

Scholars have long noted the influence of Russian writers, particularly Tolstoy and Dostoevsky, on the novels of Benito Pérez Galdós. However, in an interview granted to the Russian journalist la. Pavlovskii in 1884 (only recently published in the West) Galdós acknowledges an indebtedness to an earlier Russian master, Ivan Turgenev, referring to him as “my great teacher.” A close reading of Turgenev's Fathers and Sons and Galdós' Doña Perfecta suggests that the Russian masterpiece may have inspired the well-known Spanish work. The novels share a common theme (the conflict between generations), and in each the hero is a young man trained in science who makes an extended visit to the provinces. In both works the protagonist dies a tragic, untimely death. There are other important similarities between the two books, but significant differences as well, particularly in the authors' attitudes toward the conflict itself. Galdós believed completely in Pepe Rey's cause, while Turgenev was ambivalent about the forces his hero represented; thus, in tone and structure each novel reflects its author's feelings. There appears to be no doubt that Galdós knew Fathers and Sons and made use of certain of its ideas in creating his own independent and highly personal interpretation of the conflict between generations.

Stolen from the Snows: John Kinsella as Poet and as Fiction Writer

CounterText ◽  
2020 ◽  
Vol 6 (2) ◽  
pp. 232-238
Author(s):  
Nicholas Birns
Keyword(s):  
Close Reading ◽  
Artistic Identity ◽  
Close Analysis ◽  
Fiction Writer

This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.

‘Nothing is simply one thing’: Woolf, Deleuze and Difference

2013 ◽  
Vol 7 (4) ◽  
pp. 456-474
Author(s):  
Beatrice Monaco
Keyword(s):  
Virginia Woolf ◽  
Prose Poetry ◽  
Close Reading ◽  
Similar Model ◽  
Complex Interplay ◽  
To The Lighthouse

This paper explores some key texts of Virginia Woolf in the context of Deleuzian concepts. Using a close reading style, it shows how the prose poetry in Mrs Dalloway engages a complex interplay of repetition and difference, resulting in a remarkably similar model of the three syntheses of time as Deleuze understands them. It subsequently explores Woolf's technical processes in a key passage from To the Lighthouse, showing how the prose-poetic technique systematically undoes the structures of logical fact and rationality inscribed in both language and everyday speech to an extremely precise level.

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

On the Primacy of Matter: Neoplatonism Right-Side Up

2018 ◽  
Author(s):  
Tyler Tritten
Keyword(s):  
Close Reading ◽  
After Effect ◽  
The One

This chapter provides a close reading of Schelling’s early commentary on Plato’s Timaeus and then contrasts this reading with Neoplatonism’s, particularly Proclus’, understanding of this same text. While Neoplatonism views being according to a hierarchy of degradation or descent, with matter at the bottom, Schelling affirms that being potentiates itself into higher and greater degrees of order such that matter is not the last but the first. He is able to do this, however, only by rejecting the Platonic notion of participation. For Schelling, the participating acquires an independence from the participated so that an effect can be greater than its cause and, moreover, the effect exerts a retroactive after effect on the cause. The identity of a cause or antecedent is only constituted in and through its consequents. If matter is said to process from the One, then matter, in turn, is the consequent condition of the identity of the One as one rather than as many.

The Russian nationalist movement at low ebb

2018 ◽  
Author(s):  
Alexander Verkhovsky
Keyword(s):  
The State ◽  
Complex Relationship ◽  
State Repression ◽  
Subsequent Increase ◽  
Nationalist Movement

This chapter examines changes in the Russian nationalist movement from Russia’s annexation of Crimea until the State Duma elections in September 2016. Since 2014, the nationalist movement has been split over which side to support in the war in Ukraine. Then, with the subsequent increase in state repression of ultra-rightists, the movement lapsed into total decline. The chapter traces activities in various sectors of Russian nationalism, discussing the separate trajectories of the pro-Kremlin and oppositional nationalists, as well as the latter group’s further subdivision into groups that support or oppose the ‘Novorossiia programme’. Attention is paid to the complex relationship and interaction between the various groups of nationalists, as well as to their interaction with the powers-that-be and with the liberal opposition.

Transformation and Education in GDR Youth Literature: A Script Theory Approach

2016 ◽  
Vol 9 (1) ◽  
pp. 65-82
Author(s):  
Jean E. Conacher
Keyword(s):  
Fairy Tale ◽  
Democratic Republic ◽  
Socialist Realism ◽  
National Literature ◽  
Close Reading ◽  
Theory Approach ◽  
Conceptual Blending ◽  
Script Theory ◽  
Cultural Policies ◽  
Youth Literature

Youth literature within the German Democratic Republic (GDR) officially enjoyed equal status with adult literature, with authors often writing for both audiences. Such parity of esteem pre-supposed that youth literature would also adopt the cultural–political frameworks designed to nurture the establishment of socialism on German soil. In their quest to forge a legitimate national literature capable of transforming the population, politicians and writers drew repeatedly upon the cultural heritage of Weimar classicism and the Bildungsroman, Humboldtian educational traditions and Soviet-inspired models of socialist realism. Adopting a script theory approach inspired by Jean Matter Mandler, this article explores how directive cultural policies lead to the emergence of multiple scripts which inform the nature and narrative of individual works. Three broad ideological scripts within GDR youth literature are identified which underpin four distinct narrative scripts employed by individual writers to support, challenge and ultimately subvert the primacy of the Bildungsroman genre. A close reading of works by Strittmatter, Pludra, Görlich, Tetzner and Saalmann reveals further how conceptual blending with classical and fairy-tale scripts is exploited to legitimise and at times mask critique of transformation and education inside and outside the classroom and to offer young protagonists a voice often denied their readers.

Patrick Kavanagh and the Authentic ‘Dispensation’: Rereading the Role of Narrator in The Great Hunger

2012 ◽  
Vol 42 (1) ◽  
pp. 86-104 ◽  
Author(s):  
Catherine Kilcoyne
Keyword(s):  
National Literature ◽  
Close Reading ◽  
Peasant Farmer ◽  
Nineteen Forties ◽  
Death Knell

This essay posits a challenge to the continued reading of The Great Hunger (1942) as a realist depiction of the Irish small-farming class in the nineteen forties. The widespread critical acceptance of the poem as a socio-historical ‘documentary’ both relies upon and propagates an outmoded notion of authenticity based upon the implicit fallacy that Kavanagh's body of work designates a quintessence of Irishness in contradistinction to his Revivalist predecessors. In 1959 Kavanagh referred to this delusion as constituting his ‘dispensation’, for indeed it did provide a poetic niche for the young poet. Kavanagh's acknowledgement of this dispensation came with his rejection of all prescriptive literary symbols. While this iconoclasm is widely recognised in his later career, the relevance of The Great Hunger to this question continues to be overlooked. In fact, this poem contains his strongest dialectic upon the use of symbols – such as the peasant farmer – in designating an authentic national literature. The close reading of The Great Hunger offered here explores the poem's central deconstruction of ruralism and authenticity. The final ‘apocalypse of clay’ is the poem's collapse under the stress of its own deconstructed symbolism; the final scream sounds the death knell to Kavanagh's adherence to his authentic dispensation.

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