Literary London

Focusing on the period up to 1924, this chapter explores Virginia Woolf’s engagement with London as much-loved home, as literary subject (from Night and Day to Jacob’s Room and Mrs Dalloway), and as professional milieu. It considers Woolf’s roots in Hyde Park Gate, her move from Kensington to Bloomsbury after the death of her father, Leslie Stephen, and the establishment of the Bloomsbury Group. At the same time, this chapter widens the lens to look at the larger London literary scene. This was a resource to which Woolf gained access through a large network of friends, including, but not limited to, other Bloomsbury Group members, and professional contacts acquired through her work as publisher along with Leonard Woolf at the Hogarth Press. The chapter closes with Woolf’s move back into the ‘centre of things’ in Bloomsbury in 1924 as both she and the press began to outgrow Richmond.

The Mystery of “Collaboration” in Henry James

This article argues for the importance of collaboration as a species of literary relation in Henry James’s work. Collaboration was increasingly popular towards the end of the nineteenth century, and yet, James’s interest in and occasional practice of this compositional mode has been largely overlooked. This is partly due to James’s own ambivalent and contested relationship with multiple authorship, most obviously in his contribution to The Whole Family. However, James’s frequent identification of collaboration as a “mystery” indicates the extent to which it exerted a considerable influence over his imagination and thinking, and its association with some of his most formative moments of novelistic and vocational self-awareness. “Collaboration” is also a literary subject in its own right, most obviously in James’s 1892 story of that name, and the depiction of the practice as a unifying, if occasionally divisive, ideal offers a complex and often enigmatic vision of sociable reciprocity.

Reflections on Theory and Criticism of the ‘Literary Egoʼ. A Comparative Study

The purpose of this essay is to deepen philosophical and critical issues related to the ‘literary Ego’ by articulating the conceptual and theoretical premises of a contemporary corpus. To date, the subject of my study lacks a relative critical literature which is epistemologically developed starting from the philosophical component. In the essay, a thematic reading of the materials relating to the literary subject was actualised, which led to the development of an equally comparative-formal and theoretical-literary discourse. What has been deduced is a character of profound interconnection between the insights offered by reading the essence of the ‘literary Ego’ as an empirical and phenomenological res. In conclusion, an attempt was made to highlight the concreteness of this character, which offers the starting point for further studies.

‘Bottom’

Chapter 3 explores the violent world of prize-fighting in London and New York. It starts with a fight in a field in Hampshire in 1860. A lot of people have come down on the train from London to see a young Irish American hard man called John Heenan take on the considerably older, and smaller, English champion Tom Sayers. The fight is serious, not fraudulent, but ends in farce, paving the way for a sport already in decline to be over and done with by the end of the century. The chapter spreads out from Sayers Heenan to take on the part prize-fighters played in a plebeian way of seeing the English in their history. The ‘Fancy’, so-called, saw themselves as keepers of the boxing constitution. The ‘Bloods’, so called, saw themselves as defenders of the country’s honour. No sport aroused as much popular excitement. Boxing was a literary subject too. It developed a way of speaking all of its own and, in essay and metaphor, fighters’ unique ability to fight fair (no knives) under rules while giving and taking no quarter (‘Bottom’) either in battle or the ring, were highly prized expressions of liberty. The chapter ends with the Queensberry Rules and the birth of modern boxing as a mainly Anglo-American affair, now performed in theatres not fields.

La mortelega grande, czyli „wielkie umieranie”. Zaraza jako katastrofa (w) wyobraźni

Artykuł omawia dwa literackie przykłady reprezentacji epidemii: libretto młodopolskiego pisarza i krytyka Karola Irzykowskiego Zaraza w Bergamo (1897) oraz utwór przedstawiciela polskiego futuryzmu – Brunona Jasieńskiego Palę Paryż (1928), które ukazują tendencje do pesymistycznego ujmowania rzeczywistości poprzez metaforę zarazy. Autorka wskazuje, iż zainteresowanie twórców chorobą i epidemią jako tematem literackim powraca w momentach przełomów i kryzysów. Narracje o zarazie, pladze czy innym powszechnym zagrożeniu będą w literaturze modernistycznej i międzywojennej reprezentowały właśnie narracje katastroficzne. Twórczość polskich modernistów i awangardzistów ujmuje bowiem całe spektrum katastroficznych tematów, nawet jeśli katastrofę zawęzić do plagi: morowa zaraza, zadżumione miasta i szalejące śmiertelne grypy goszczą na kartach literatury XIX i XX wieku. La Mortelega Grande or the “Great Mortality:” Pestilence as a Disaster for/in the Imagination The present paper discusses two examples of literary depictions of epidemics: the libretto Zaraza w Bergamo (1897) by Young Poland writer and critic Karol Irzykowski and the novel Palę Paryż (1928) by Polish futurist author Bruno Jasieński, with both works exemplifying the trend to use the metaphor of pestilence to create a pessimistic image of reality. The author points out that interest in disease and epidemic as a literary subject often grows in the times of radical change and crises. The narratives of pestilence, plague or other collective threat in modernist and interwar literature were examples of apocalyptic narratives. The output of Polish modernist and avant-garde writers encompassed the entire spectrum of catastrophic themes, even if the range of disasters was limited only to plagues: the Black Death, cities ravaged by the bubonic plague, and raging epidemics of deathly flu strains frequently featured on the pages of literary works produced in the 19th and the 20th century.

Old Gibellina: the map, the world, the Aleph

The present contribution intends to propose an epistemological reflection on the links and relationships that interweave the map, cultural heritage, landscape and places. I have identified an interpretative horizon that intersects the scientific geographic debate with the literary subject and proposed a specific reading of the site of Old Gibellina in Sicily, Italy, where reality and representation seem to converge. In 1968, Gibellina was razed to the ground by an earthquake. Then the site of Old Gibellina was covered by the ‘Grande Cretto’: the work of Land Art made by the artist Alberto Burri. In my perspective, the Cretto represents a unique place: it is a full-size map, it is landscape and it is world at the same time. What happens, then, when reality and representation coincide in a place?

Analyzing Literature Discourse of Being Unpredictable Aspect of the War Based on the Sociogram

This article attempts to study the topic of war based on literary studies. For this purpose, this article examines the lecture of Claude Duchet about the sociogram of war. In this study, the unpredictable aspect of war, which means that we cannot imagine and understand the war, is studied. In all societies you can find special thoughts and statements about war, but we always keep in mind incomplete parts of the war that do not encompass the integrity of the war. So we need to look at this in other respects. Although, war is not a literary subject, but literature has to deal with it, ever since war is a human subject. Literature cannot escape war, whether it speaks about it or not.

A Poem Analysis of E.E. Cummings’ [I carry your heart with me (I carry it in] Grammatical and Phonological Level

Pramudana IhsanUniversitas Muhammadiyah [email protected] AbstractEdward Estlin Cummings (1894-1962) was not a person who was trifling in the literary world. His ideas of several new writing styles were publicly known and were able to inspire many poets in this world. The new ideas of writing styles including lowercase writing on a few subjects, lack of commas, full stops, spaces, and also parentheses which are placed on the wrong spots. All of those things are manifested on the one of his great poems, titled [i carry your heart with me (I carry it in]. Even though several persons called the ideas as “peculiar ideas,” but the poet, made those peculiar ideas and also the deep sentences inside as the media to analyze this poem until it was able to be understood and discussed as literary subject. The phonological level analysis used sound devices understanding and semantics analysis which recommended by Fromkin, Rodman, & Hyams (2011: 148), used figure of speech recognizing; are maximally optimized in this work in order to serve the appropriate result as it is hoped, to be one of learning media in the literary discussion. Keywords: Edward Estlin Cummings, phonological level analysis, grammatical level AbstractEdward Estlin Cummings (1894-1962) merupakan orang yang terkenal dalam dunia sastra. Ide-idenya tentang gaya penulisan baru telah dikenal publik dan mampu menginspirasi banyak penyair di dunia, termasuk penulisan huruf kecil pada beberapa subjek, kurangnya koma, berhenti penuh, spasi, dan juga tanda kurung yang ditempatkan di tempat yang salah. Semua hal itu atertuang dalam puisinya yang berjudul (I carry your heart with me). Meskipun beberapa orang menyebut ide sebagai "ide yang aneh," tetapi dia mampu menuangkan ide tersebut dalam bait- bait puisi yang mendalam dari segi analisis tingkat fonologis berdasarkan suara dan analisis semantik yang direkomendasikan oleh Fromkin, Rodman, & Hyams (2011: 148). Selain itu, pengenalan kata- kata kiasan digunakan secara optimal sebagai salah satu media pembelajaran dalam diskusi sastra.Kata kunci: Edward Estlin Cummings, analisis tingkat fonologi, level gramatikal

Faust-Sammlungen

For more than a century, Faust was more than just an object of literary theory. In Germany, in the course of the overwhelming response Goethe's Faust tragedy spawned, both character and literary material developed into a national object of identification. The 'Faustian' became the sign of an age. For the self-reflection and self-description of Germany as a cultural nation in the 19th and in the first half of the 20th century, the Faust myth was of central importance. The singular meaning of the Faust story is also reflected in the fact that in the 19th and 20th centuries it became the subject of numerous at first predominantly private, and later also public, collecting activities, unlike any other literary subject matter. What stands out is the breadth and internationality of the collectors, both individual and institutional. The contributions collected in this volume discuss the origins, the composition, the objects and the forms of presentation of these collections – and what they reveal about the cultural memory (not just of) the Germans.