Merleau-Ponty on Beauvoir’s Literary-Philosophical Method

1998 ◽  
pp. 6-12
Author(s):  
Edward Fullbrook ◽  
Kate Fullbrook
Keyword(s):  
Nineteenth Century ◽  
Modern Philosophy ◽  
Short Story ◽  
The Novel ◽  
Philosophical Method ◽  
Simone De Beauvoir ◽  
Literature And Philosophy ◽  
Philosophical Writing ◽  
Literary Forms ◽  
Modern Development

Modern philosophy from the mid-nineteenth century on, has been particularly interested in choosing, adapting, and in some cases inventing literary forms to fit the particular philosophical subject under investigation. Simone de Beauvoir, with her explicit rejection of any formalist division between literature and philosophy, is one of the most interesting contributors to the modern development of philosophical writing. The waters surrounding de Beauvoir’s contribution to philosophical method are somewhat muddled because the literary forms she used innovatively for philosophy — the novel and the short story — have (unlike, for example, the literary forms of Wittgenstein) resulted in writing which has been chiefly esteemed largely in terms of literature. In fact, many of her compositions rest simultaneously in both the categories of literature and philosophy. The significance of this aspect of her work was recognized by some of her contemporary philosophical associates, most particularly Merleau-Ponty. This paper draws on Merleau-Ponty to explore the philosophical ideas which inspired de Beauvoir’s methodology, and considers the nature and ramifications of her originality in terms of philosophy’s tradition of methodological diversity.

scholarly journals POETICS OF CYCLIZATION IN THE PROSE OF YURIY BUYDA

2020 ◽  
Vol 12 (2) ◽  
pp. 72-80
Author(s):  
Marina P. Abasheva ◽  
◽  
Mariya V. Kurilenko ◽  
◽  
Keyword(s):  
Short Story ◽  
Social Communication ◽  
Russian Literature ◽  
General Interest ◽  
The Novel ◽  
Text Generation ◽  
Semiotic Analysis ◽  
Literary Forms ◽  
The Social ◽  
The One

The article studies the poetics of the contemporary writer Yuriy Buyda in the context of the contemporary Russian short story. The analysis of historically specific forms of Buyda’s cyclization is considered as part of the general tasks of historical poetics in studying the evolution of literary forms. Structural and semiotic analysis of the writer’s works reveals that his prose forms peculiar cycles-clusters, ‘archipelagos’, where a cycle of stories appears to be related to novels. This connection is primarily determined by the setting, but also by recurring heroes and a specific – cumulative rather than cyclical – plot that traces its origin to myth. Through the example of one such cluster of texts – the cycles Zhungli, Gates of Zhungli (Vrata Zhungley) (2011), Lions and Lilies (L’vy i Lilii) (2013), the novel Blue Blood (Sinyaya krov’) and related works – the paper investigates the nature and logic of the depicted world, the mechanisms of its intra-textual connections, as well as the genesis due to both the nature of the author’s artistic thinking and the social, historical and literary, biographical context. Thus, we can observe a tendency of transcending the genre boundaries of a story or novel in favor of hypertext rhizomatic formations – based on mythologizing strategies. These features correlate with the general interest of contemporary Russian literature in collections of short stories, on the one hand, and the contemporary novel’s leaning to disintegration of a single narrative and fragmentation, on the other. It is possible that the tendencies toward hypertext strategies for text generation are determined by the general properties of modern thinking and social communication since today the social morphology of society is built in the form of networks.

Introduction

2019 ◽  
pp. 1-15
Author(s):  
Cairns Craig
Keyword(s):  
Nineteenth Century ◽  
Second World War ◽  
The Novel ◽  
Simone De Beauvoir ◽  
World War ◽  
Christian Philosophy ◽  
Muriel Spark ◽  
Jean Paul ◽  
Intellectual Context ◽  
Second World

Muriel Spark has regularly been described as a Catholic novelist, given that her conversion to Catholicism was followed closely by the publication of her first novel, The Comforters, about the struggles of a Catholic convert. However, the intellectual context in which she came to maturity in the years after the Second World War was pervaded by the issues raised by existentialism, issues which surface directly in her novel The Mandelbaum Gate. Existentialism is now associated with Jean-Paul Sartre and Simone de Beauvoir as an atheistic philosophy, but it began as a Christian philosophy inspired by nineteenth-century Danish philosopher Søren Kierkegaard. It was Kierkegaard’s Christian existentialism which shaped Spark’s own ‘leap to faith’ and his ironic style which shaped her own approach to the novel form.

Fiction and the Native Author

2018 ◽  
Author(s):  
Jane Stafford
Keyword(s):  
Nineteenth Century ◽  
British Empire ◽  
Short Story ◽  
English Language ◽  
Literary Tradition ◽  
The Novel ◽  
Indigenous Identity ◽  
Do So

This chapter discusses native authors of fiction. Indigenous, colonized, or native authors of fiction in English are rare in the British Empire before 1950. There are exceptions, however, in India, there is a body of English-language fiction from the second half of the nineteenth-century onwards. Nevertheless, a sustained presence and the development of a local literary tradition in English were difficult. The short story, published in newspapers and magazines, was a more common though at the same time more ephemeral form than the novel. Native writers authored prose collections of Indigenous myths and legends in English, overtly signalling their authority to do so in terms of their Indigenous identity and the access it entailed.

scholarly journals PARA ALÉM DE UM TETO TODO SEU: O CASO ELISA LISPECTOR

2021 ◽  
Author(s):  
Débora Magalhães Cunha Rodrigues
Keyword(s):  
Literary Criticism ◽  
Short Story ◽  
Virginia Woolf ◽  
Clarice Lispector ◽  
The Novel ◽  
Female Subjectivity ◽  
Simone De Beauvoir ◽  
Brazilian Literature ◽  
Room Of One's Own

RESUMO: Elisa Lispector escreveu inúmeros romances e contos, recebendo prêmios por alguns deles. A escritora, embora tenha explorado a construção de uma subjetividade feminina, é quase sempre lembrada pelos escritos autobiográficos, principalmente o romance No exílio de 1948. A crítica esteve mais atenta às narrativas que iluminavam episódios da vida de sua irmã caçula, Clarice Lispector, do que às especificidades de sua escrita. A obra e a trajetória de Clarice Lispector causaram sombra não só à obra de sua irmã como às de outras escritoras do mesmo período.  Neste artigo, questionamos o papel da crítica no apagamento do nome de Elisa Lispector na literatura brasileira que tomou o caso Clarice como excepcional, negando às escritoras, de um modo geral, um espaço para debater seus textos e subjetividades. Além da vinculação da obra da escritora à obra de sua irmã pela crítica literária, analisamos como a tradição literária falocêntrica contribuiu para este apagamento. Elisa Lispector contribuiu para o debate acerca do baixo número de publicações de escritoras, evocando Virginia Woolf e Simone de Beauvoir. Atuou para que as escritoras pudessem ter uma tradição em que se ancorar. Analisamos os romances O muro de pedras publicado em 1963, O dia mais longo de Thereza de 1965, A última porta de 1975, Corpo a corpo de 1983 e do conto “Uma outra temporada no inferno” de seu último livro O tigre de bengala publicado em 1985, demonstrando como a escritora explorou os processos de emancipação feminina e os conflitos comuns a esta fase de transição.BEYOND A ROOM OF ONE’S OWN: THE CASE ELISA LISPECTORABSTRACT: Elisa Lispector has written numerous novels and short stories, receiving awards for some of them. The writer, although she explored the construction of a female subjectivity, is almost always remembered for autobiographical writings, especially the novel No exílio of 1948. The criticism was more attentive to the narratives that illuminated episodes of the life of her younger sister, Clarice Lispector, than to the specificities of her writing. Clarice Lispector's work and trajectory cast a shadow not only on her sister's work but also on those of other writers of the same period. In this article, we question the role of criticism in the elimination of Elisa Lispector's name in Brazilian literature, which took Clarice as exceptional, denying writers, in general, a space to debate their texts and subjectivities. In addition to linking the writer's work to her sister's work by literary criticism, we analyze how the phallocentric literary tradition contributed to this elimination. Elisa Lispector contributed to the debate about the low number of writers' publications, evoking Virginia Woolf and Simone de Beauvoir. It worked so that the writers could have a tradition in which to anchor themselves. We analyze the novels O muro de pedras published in 1963, O dia mais longo de Thereza of 1965, A última porta of 1975, Corpo a corpo of 1983 and the short story "Uma outra temporada no inferno" from her last book O tigre de bengala published in 1985, demonstrating how the writer explored the processes of female emancipation and the conflicts common to this phase of transition.Keywords: Elisa Lispector; feminist criticism; Brazilian literature.

scholarly journals Agora é que são elas: um romance em xeque / Agora é que são elas: a novel in check

2021 ◽  
Vol 30 (3) ◽  
pp. 110
Author(s):  
Jorge Fernando Barbosa do Amaral
Keyword(s):  
Nineteenth Century ◽  
First World War ◽  
Julio Cortazar ◽  
The Novel ◽  
World War ◽  
Literary Forms ◽  
Starting Point ◽  
The First World War ◽  
First World ◽  
Julio Cortázar

Resumo: O artigo analisa o romance Agora é que são elas, de Paulo Leminski, tendo como ponto de partida a ideia do próprio autor de que seria impossível escrever um romance nos moldes tradicionais em pleno século XX. Para Leminski, os grandes romancistas do século passado, como Joyce e Kafka, nasceram no século XIX e se formaram antes da Primeira Guerra Mundial, por isso sua produção estaria de acordo com os princípios criativos oitocentistas. Assim, o artigo investiga o Agora é que são elas, enquadrando-o tanto na “Teoria do túnel”, de Julio Cortazar, que diz que alguns escritores destroem as formas literárias tradicionais para construir a própria linguagem, quanto nas reflexões sobre a “Linguagem Invertebrada”, de Reinaldo Laddaga, que usa a imagem dos ossos como metáfora da rigidez criativa.Palavras-chave: Paulo Leminski; Agora é que são elas; Teoria do Túnel; Linguagem Invertebrada.Abstract: The paper analyzes the novel Agora é que são elas, by Paulo Leminski, taking as its starting point the idea that the author would be impossible to write a novel in the traditional ways in the twentieth century. To Leminski, the great novelists of the last century, as Joyce and Kafka, born in the nineteenth century and were formed before the First World War, so their production would agree with the nineteenth-century creative principles. Thus, the paper investigates the Agora é que são elas, framing it in both the “Tunnel Theory” by Julio Cortazar, who says that some writers destroy traditional literary forms to build its own language, as the reflections on the “Invertebrate Language”, by Reinaldo Laddaga, which uses the image of the bones as a metaphor for creative stiffness.Keywords: Paulo Leminski; Agora é que são elas; Tunnel Theory; Invertebrate Language.

scholarly journals The Modern Novella or nouvelle beyond the Short Story and the Novel

2021 ◽  
Vol 14 (4) ◽  
pp. 77-90
Author(s):  
José Cardona-López
Keyword(s):  
Short Story ◽  
The Novel ◽  
Literary Forms ◽  
Medium Length

The modern novella or nouvelle is an object of artistic order of concentration and suggestion. In it, there is a tension between the objective and the subjective, circumstances that bring it closer to other literary forms different from the short story and the novel. Based on this idea, this article presents and discusses the closeness of the modern novella with drama and poem, literary and artistic expressions that also achieve their aesthetic effects through a short or medium length.

scholarly journals The Development of the Polish Novel: Functions and Structure

Slavic Review ◽  
1970 ◽  
Vol 29 (4) ◽  
pp. 651-662 ◽  
Author(s):  
Zdzislaw Najder
Keyword(s):  
Nineteenth Century ◽  
Literary Genre ◽  
Gold Mine ◽  
The Novel ◽  
Historical Romances ◽  
Literary Forms ◽  
The Way

The novel is the only major literary genre whose origins and development we have been able to watch in detail. It also seems to be the only genre whose development depended more on the customers than on the makers. Richardson, who wrote Pamela because he noticed how popular a continuous story in the form of letters could be; Fielding, who exploited Richardson's success in his parodistic Joseph Andrews; Scott, who produced innumerable historical romances, gamely trying to match demand with supply; Dickens, who accidentally struck a gold mine with the first chapters of The Pickwick Papers; Dostoevsky, who made extensive use of the conventions of popular, sensational novels—all are typical of the way the novel evolved. In other literary forms the discrepancy between merits and rewards, creativeness and popular expectations, and originality and response has been so frequent as to become proverbial. But this is not true of the nineteenth-century novel, where it is unusual to find a writer like Stendhal, who gained his reputation only after his death.

The railway as a catalyst of change in nineteenth century provincial Spain

2016 ◽  
pp. 161-178
Author(s):  
Jacqueline A. Jordán ◽  
Marta Manrique Gómez
Keyword(s):  
Nineteenth Century ◽  
Short Story ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Railway System ◽  
Women And Children ◽  
Late Nineteenth

This article analyzes the significance of the emergence of the railway system in the Spain of the late nineteenth century through the study of the short story ¡Adiós, Cordera! by Alas Clarín and the novel El tren directo by ortega y Munilla. Both authors represent the arrival of the train as a distorting element of the Spanish countryside which ends up destroying the lives of the main characters in both works and, in particular, the weakest, women and children.

Hurry Up and Wait: The Nigger of the ‘Narcissus’ and the Maritime in Modernism

2017 ◽  
Vol 12 (2) ◽  
pp. 173-197 ◽  
Author(s):  
Maxwell Uphaus
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Modernist Literature ◽  
Left Behind ◽  
Late Nineteenth ◽  
Cultural Role

The burgeoning subfield of literary oceanic studies has largely neglected modernist literature, maintaining that the end of the age of sail in the late nineteenth century also marks an end to maritime literature's substantive cultural role. This essay outlines a way of reading the maritime in modernism through an analysis of the engagement with history and temporality in Joseph Conrad's sea novel The Nigger of the ‘Narcissus’ (1897). The novel depicts the sea as variously an anachronistic sphere left behind by history, an integral foundation to history, an element that eclipses history, and an archive of history's repressed violence. This article traces the interactions of these various views of the sea's relationship to history, highlighting how they are shaped and inflected by the novel's treatment of race. Based on this analysis, it proposes an approach to the sea in modernist literature that focuses on its historiographical rather than social import.

Epic and Novel

2013 ◽  
Vol 68 (3) ◽  
pp. 396-422 ◽  
Author(s):  
Natasha Moore
Keyword(s):  
Nineteenth Century ◽  
Everyday Life ◽  
Economic Life ◽  
Modern World ◽  
The Novel ◽  
Aurora Leigh ◽  
Big Picture

This essay explores a peculiarly Victorian solution to what was perceived, in the middle of the nineteenth century, as a peculiarly Victorian problem: the fragmentation and miscellaneousness of the modern world. Seeking to apprehend the multiplicity and chaos of contemporary social, intellectual, political, and economic life, and to furnish it with a coherence that was threatened by encroaching religious uncertainty, Victorian poets turned to the resources of genre as a means of accommodating the heterogeneity of the age. In particular, by devising ways of fusing the conventions of the traditional epic with those of the newly ascendant novel, poets hoped to appropriate for the novelistic complexity of modern, everyday life the dignifying and totalizing tendencies of the epic. The essay reevaluates the generic hybridity of Elizabeth Barrett Browning’s Aurora Leigh (1856) as an attempt to unite two distinct kinds of length—the microscopic, cumulative detail of the novel and the big-picture sweep of the epic—in order to capture the miscellaneousness of the age and, at the same time, to restore order and meaning to the disjointed experience of modernity.

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