Close Reading: The Reader. Ed. Frank Lentricchia & Andrew Dubois. Durham & London: Duke University Press, 2003. ix + 391 pp. £82/$95 (hardback); £19.95/$26 (paperback). ISBN 0–8223–3026–1/3039–3

2007 ◽  
Vol 43 (1) ◽  
pp. 96-97
Keyword(s):  
Close Reading ◽  
Duke University ◽  
Frank Lentricchia

scholarly journals “Through a glass, darkly”: The metaphor of the lens in public discussions about the Canadian Museum for Human Rights

2014 ◽  
Vol 4 ◽  
Author(s):  
Joanne Lynn Struch
Keyword(s):  
Human Rights ◽  
Close Reading ◽  
National Narratives ◽  
Media Criticism ◽  
The Public ◽  
Recent Scholarship ◽  
Political Relations ◽  
Duke University ◽  
The Media ◽  
Rights Issues

Even before it has opened its doors, the Canadian Museum for Human Rights (CMHR) has been a topic of discussion, controversy and debate among scholars and in the media. What human rights issues should be included in the museum and how these should be represented have become fodder for public discussion and media criticism. This paper discusses some of the recent scholarship about ideas-based museums in conjunction with theories of the rhetoric of human rights in order to provide a context for a close reading of the use of the metaphor of the lens in the public debate about the CHMR. The paper suggests that the use of the lens metaphor is part of the “spectacular rhetoric” of human rights that, as argued by Wendy Hesford in Spectacular Rhetorics, “activates certain cultural and national narratives and social and political relations” (9). As such this metaphor is a restricted one that “defines the parameters of the public's engagement with key human rights issues” (Hesford 10). ReferencesHesford, Wendy. Spectacular Rhetorics: Human Rights Visions, Recognitions, Feminisims. Durham: Duke University Press, 2011. Print. 

scholarly journals Las dialécticas del desastre

2020 ◽  
pp. 17-25
Author(s):  
Fredric Jamenson
Keyword(s):  
September 11 ◽  
South Atlantic ◽  
Stanley Hauerwas ◽  
Duke University ◽  
Fredric Jameson ◽  
Medios De Comunicacion ◽  
Frank Lentricchia

En el presente artículo yace uno de los aportes fundamentales de Fredric Jameson para emprender una reflexión en torno a ese fenómeno que, en tiempos recientes, reconocemos como una Cultura del Miedo. A partir de un estudio crítico del trauma nacional y del despertar del delirio masivo, el reconocido teórico marxista nos ofrece aquí claves de sumo interés para releer los avatares de la experiencia colectiva luego de los atentados del 11 de septiembre de 2001, ello sin perder de vista el papel activo de los medios de comunicación, las lógicas políticas del capitalismo global y el avance del fundamentalismo religioso. El artículo que hoy rescata la revista Estudios ha sido traducido directamente del inglés, habiendo sido publicado, inicialmente, en South Atlantic Quarterly (Vol. 101, Nro. 2, Duke University Press, 2002, pp. 297-304) y, luego, reproducido en la compilación Dissent from the Homeland: Essays after September 11, editada por Stanley Hauerwas and Frank Lentricchia (Duke University Press, Durham & London, 2003, pp. 55-62). La traducción al español es obra de Ariel Gómez Ponce, quien a su vez agradece profundamente la gentileza del profesor Fredric Jameson, por cuya generosidad podemos presentar, por primera vez, el siguiente texto al lector de habla hispana.

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.

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