The Many Faces of Judy Malloy’s Uncle Roger

Traversals ◽  
2017 ◽  
Author(s):  
Dene Grigar
Keyword(s):  
Close Reading ◽  
Electronic Literature ◽  
Archival Research ◽  
Research Interviews ◽  
The Many

This chapters challenges the accepted view that Judy Malloy produced four versions of her pioneering work of electronic literature, Uncle Roger, showing through material uncovered from archival research, interviews, and Traversals, that there are instead six. Through a close reading of each version, the chapter also reveals subtle as well as significant changes the author made to the work during its 30-year history.

Bad Dreams and Secret Artists: Translating Freud into Literature

2002 ◽  
Vol 4 (2) ◽  
pp. 127-139 ◽  
Author(s):  
Ian Patterson
Keyword(s):  
Sigmund Freud ◽  
Ordinary Language ◽  
Close Reading ◽  
Careful Attention ◽  
Popular Approach ◽  
English Reader ◽  
Creative Writer ◽  
The Many ◽  
The Way

This article addresses the increasingly popular approach to Freud and his work which sees him primarily as a literary writer rather than a psychologist, and takes this as the context for an examination of Joyce Crick's recent translation of The Interpretation of Dreams. It claims that translation lies at the heart of psychoanalysis, and that the many interlocking and overlapping implications of the word need to be granted a greater degree of complexity. Those who argue that Freud is really a creative writer are themselves doing a work of translation, and one which fails to pay sufficiently careful attention to the role of translation in writing itself (including the notion of repression itself as a failure to translate). Lesley Chamberlain's The Secret Artist: A Close Reading of Sigmund Freud is taken as an example of the way Freud gets translated into a novelist or an artist, and her claims for his ‘bizarre poems' are criticized. The rest of the article looks closely at Crick's new translation and its claim to be restoring Freud the stylist, an ordinary language Freud, to the English reader. The experience of reading Crick's translation is compared with that of reading Strachey's, rather to the latter's advantage.

scholarly journals Samson’s “Thorn Bush” Tagging of Delilah Within Cecil B. DeMille’s Samson and Delilah (1949): Pricking One’s Scriptural Conscience?

2014 ◽  
Vol 3 (3) ◽  
pp. 74-106
Author(s):  
Anton Karl Kozlovic
Keyword(s):  
Film Criticism ◽  
Close Reading ◽  
Film Genre ◽  
Selective Review ◽  
Biblical Epics ◽  
The Many

Legendary producer-director Cecil B. DeMille was a seminal cofounder of Hollywood, a progenitor of Paramount Pictures, and an unsung auteur who was not only an early pioneer of the religion-and-film genre but became the undisputed master of the American biblical epic. However, the many deftly engineered sacred subtexts, thematic preoccupations, and aesthetic skills of this movie trailblazer were frequently denied, derided or dismissed during his lifetime and decades thereafter. This situation is in need of re-examination, rectification and renewal. Consequently, following a close reading of Samson and Delilah (1949) and a selective review of the critical DeMille, film and religion literature, this article uses Delilah’s (Hedy Lamarr) “thorn bush” tag, given to her during the wedding feast confrontation scene with Samson (Victor Mature), to explicate ten thorn bush themes that reveal some of the hidden depths of C.B.’s biblical artistry. Utilising textually-based humanist film criticism as the guiding analytical lens, this article concludes that DeMille was a far defter biblical filmmaker than has hitherto been appreciated. Further research into DeMille studies, biblical epics, and the religion-and-film field is warranted, recommended and already long overdue.

‘PUBLIC JUSTICE’ AS A CRITICAL POLITICAL NORM

2007 ◽  
Vol 72 (2) ◽  
pp. 130-150 ◽  
Author(s):  
Jonathan Chaplin
Keyword(s):  
Political Action ◽  
The State ◽  
Close Reading ◽  
Democratic Deliberation ◽  
Relative Neglect ◽  
The Many ◽  
Theoretical Reflection ◽  
Theoretical Project

'Public justice’ is one of the most widely-invoked of the many distinctive terms coined by Herman Dooyeweerd but, strangely, one of the least well analysed. Dooyeewerd holds that that the identity of the state is defined by a single, integrating and directing norm, the establishment of ‘public justice’. Elaborating the implications of this claim has occupied much neo-Calvinist political reflection and guided much political action inspired by that movement. Yet surprisingly little sustained theoretical reflection has been devoted in recent times to examining its inner meaning and coherence. This article offers some preliminary groundwork necessary to that theoretical project. The first part presents a close reading of Dooyeweerd’s account of public justice, identifies ambiguities and inconsistencies in that account, and suggests a reconstruction displaying its wide-ranging dynamic thrust more prominently. The second part identifies two substantial challenges confronting this account: its relative neglect of processes of democratic deliberation and advocacy, and its underdeveloped critical potentials.

Gertrude Stein and the Making of Jewish Modernism

2020 ◽  
Author(s):  
Amy Feinstein
Keyword(s):  
American Literature ◽  
Jewish Identity ◽  
Gertrude Stein ◽  
Jewish Studies ◽  
Archival Research ◽  
Vichy France ◽  
Epic Novel ◽  
Modernist Studies ◽  
The Many

Gertrude Stein and the Making of Jewish Modernism illuminates the idiosyncratic Jewish lexicon Gertrude Stein marshalled to associate modernism with Jewishness. Bridging modernist studies, Jewish studies, and the study of American literature, it establishes this inveterate experimenter as one of the premier Jewish modernists. Using archival research that radically changes our understanding of Stein’s oeuvre, Feinstein argues that an interest in Jewish nature was central to the many experiments in genre and style throughout Stein’s career. Although Stein explicitly discusses Jews in early scholastic writings and notebooks, she ceases to write openly about Jews in her first fictions and the epic novel The Making of Americans. Instead, melding tradition and innovation, her protagonists are figuratively Jewish and modern. Stein derived these solely metaphorical depictions of Jewish identity from Matthew Arnold’s notions of Hebraism and Hellenism, a debt never before recognized. Later, Stein returns to an explicit Jewish vocabulary in her enigmatic “voices” writings to examine marriage, diplomacy, and Zionism. Finally, in compositions written in Vichy France, where decrees were narrowly defining the parameters of French and Jewish identities, Stein rebelliously Judaizes the experience of occupation. The conclusion rebuts recent claims of Stein’s collaboration by examining her anti-Hitlerian writings and wartime contributions to journals of the intellectual resistance.

Livy's Preface

1994 ◽  
Vol 39 ◽  
pp. 141-168 ◽  
Author(s):  
John Moles
Keyword(s):  
Close Reading ◽  
The Many

Few of the many treatments of this famous preface seem to recognise the need for close reading of the text. The present paper sets out to remedy this deficiency in the hope of achieving three main aims: (1) to demonstrate the coherence and power of Livy's argument, as well as the subtlety of its exposition and the richness of its language; (2) to resolve certain specific problems; (3) to further the continuing debate on important general questions in ancient historiography.Facturusne operae pretium sim si a primordio urbis res populi Romani perscripserim nee satis scio nec, si sciam, dicere ausim, (2) quippe qui cum ueterem turn uolgatam esse rem uideam, dum noui semper scriptores aut in rebus certius aliquid allaturos se aut scribendi arte rudem uetustatem superaturos credunt.

Shakespeare’s Rebirth

2017 ◽  
Author(s):  
Anthony R. Guneratne
Keyword(s):  
Digital Technologies ◽  
Media Theory ◽  
Giuseppe Verdi ◽  
Archival Research ◽  
Cultural Contexts ◽  
George Balanchine ◽  
Audio Recordings ◽  
Performance Traditions ◽  
Research Interviews ◽  
Contemporary Media

Shakespeare adaptations are uniquely suited to chart the historical reciprocity between performance traditions and emerging mediascapes. Reframing a classical essay of Walter Benjamin’s within the context of contemporary media theory, this chapter draws together archival research, interviews, and observations of performances in related aesthetic forms that have engaged with Shakespeare’s texts, including those by such key figures as Giuseppe Verdi, George Balanchine, and Mario Castelnuovo-Tedesco. By focusing on connections between the inventors of audiovisual technologies (from early audio recordings to ‘live’ HD broadcasts) and key performances by actors, singers, and dancers, and by examining how contemporary performers respond to today’s digital technologies in the light of the traditions of performance established by their predecessors, it attempts to resituate the study of adaptations of Shakespeare within broader historical and cultural contexts.

Introduction

2018 ◽  
pp. 1-15
Author(s):  
Angela Frattarola
Keyword(s):  
Twentieth Century ◽  
Turn Of The Century ◽  
Close Reading ◽  
Modernist Literature ◽  
Sound Perception ◽  
Recent Scholarship ◽  
Early Twentieth Century ◽  
The Many ◽  
Geographical Scope ◽  
Century Literature

The introduction begins with a close reading of Rudyard Kipling’s “Wireless” in order to clarify the influence of auditory technology on turn-of-the-century literature. While explaining the geographical scope and limitations of the project, the Introduction situates the modernist shift toward sound perception as one of the many breaks with tradition that characterized the period. It also surveys recent scholarship that begins to consider how the soundscape, auditory technologies, and music of the early twentieth century influenced modernist literature.

The Missing Day

2017 ◽  
Author(s):  
Alisha Gaines
Keyword(s):  
Black Masculinity ◽  
Close Reading ◽  
Archival Research ◽  
Journal Entry ◽  
John Howard ◽  
Racial Impersonation

This chapter considers the iconic, cross-racial impersonator, John Howard Griffin, author of the bestselling Black Like Me (1961). This chapter uses archival research to reveal how Griffin prepared for his temporary (mis)adventures in Southern blackness, first published in a six-part series in the now defunct, black periodical, Sepia. Before those articles, Griffin wrote about his experiment in his personal journals. Close-reading those journals uncovered Griffin’s secret black persona, “Joseph Franklin.” Written in an unpublished Halloween journal entry, known in this book as the “missing day, this chapter centers that entry.” It reads Griffin’s later success in cross-racial empathy through the spectral persona of Joseph, an imagined identity on which Griffin projected anxieties about black masculinity, and his dread about his impending temporary blackness. This chapter details how the haunting absence of Joseph and the missing October 31, 1959, journal entry structure each iteration of Griffin’s empathetic racial impersonation—from his journals and articles for Sepia to the literary and film versions of Black Like Me. By tracing this strategic avoidance, Griffin’s archive uncovers the imagined spectre of black masculinity shaping the most iconic example of empathetic racial impersonation in this genealogy.

Homes for Displaced Figures: Pedro Costa’s Colossal Youth

2020 ◽  
pp. 117-132
Author(s):  
Dominic Lash
Keyword(s):  
Close Reading ◽  
The Many

This chapter consists of a close reading of Pedro Costa's 2006 film Colossal Youth. It demonstrates the many distinctions that it puts in play, arguing that one of the film's achievements is that it does not break down distinctions so much as displace or disorientate them, managing thereby to simultaneously orientate and disorientate the viewer. How it does so is traced by means of the networks of significance which the film puts into play (which are also set out in an appendix that breaks down the film and identifies the structure of motifs that runs through it) and a range of different kinds of figuration, involving figures as persons, as metaphors, and as the kind of shapings that were explored in chapter five. It concludes by proposing that the film demonstrates how the notion of "home" can disturb or confuse the distinction between the literal and the figurative, and shows that a home is something that – just as was argued with regard to a film's coherence in chapter four – needs to be achieved.

(English translation of) “Contexte génétique et première réception de la Monadologie. Leibniz, Wolff et la Doctrine de L’harmonie préétablie,”

2019 ◽  
Vol 29 ◽  
pp. 185-199
Author(s):  
Antonio Lamarra ◽  
Catherine Fullarton ◽  
Ursula Goldenbaum ◽  
Keyword(s):  
English Translation ◽  
Archival Research ◽  
Christian Wolff ◽  
The Many

The many equivocations that, in several respects, characterised the reception of Leibniz's Principes de la Nature et de la Grâce and Monadologie, up until the last century, find their origins in the genetic circumstances of their manuscripts, which gave rise to misinformation published in an anonymous review that appeared in the Leipzig Acta eruditorum in 1721. Archival research demonstrates that the author of this review, as well as of the Latin review of the Monadologie, which appeared, the same year, in the Supplementa of the Acta eruditorum, was Christian Wolff, who possessed a copy of the Leibnizian manuscrip since at least 1717. This translation figured as a precise cultural strategy that aimed to defuse any idealist interpretation of Leibniz’s monadology. An essential part of this strategy consists in reading the theory of pre-established harmony as a doctrine founded on a strictly dualistic substance metaphysics.

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