Die Vermessung des Schreibens. : Navid Kermanis ,,Dein Name“ als Poetologie der Großform

2020 ◽  
Vol 30 (3) ◽  
pp. 561-576
Author(s):  
Svetlana Efimova
Keyword(s):  
Literary Form ◽  
Written Text ◽  
Large Form ◽  
The Aesthetic

Abstract Der Aufsatz analysiert die performative Poetologie der Großform im Roman Dein Name (2011) von Navid Kermani. Zu dessen Leitmotiven gehören die Vermessung einer ausufernden Textmasse und die Suche nach einer literarischen Form, um die Wahrnehmung der Wirklichkeit in ihrer Endlosigkeit zu vermitteln. Davon ausgehend fokussiert der Aufsatz den Zusammenhang zwischen Großform und Komposition, eine ästhetische Werklogik und eine epistemische Ordnung der Großform sowie eine Poetik der Ausdehnung.The paper analyzes a performative poetology of the literary ,large form‘ in Navid Kermani’s novel Dein Name (2011). Its leitmotifs include the measuring of an overflowing written text as well as the search for a literary form in order to convey the perception of reality as infinite. Taking this into account, the paper focuses on the relations between the ,large form‘ and textual composition, on the aesthetic and epistemic orders of the ,large form‘ as well as on the poetics of textual extension.

Satire

2019 ◽  
Author(s):  
Emmett Stinson
Keyword(s):  
Chicago School ◽  
Literary Form ◽  
Menippean Satire ◽  
Early 21St Century ◽  
Rhetorical Tradition ◽  
Poststructural Theory ◽  
New Critics ◽  
The Aesthetic ◽  
Linear Means ◽  
Historical Nature

Although scholars generally agree that satire cannot be defined in a categorical or exhaustive way, there is a consensus regarding its major features: satire is a mode, rather than a genre; it attacks historically specific targets, who are real; it is an intentional and purposeful literary form; its targets deserve ridicule on the basis of their behavior; and satire is both humorous and critical by its nature. The specificity and negativity of satire are what separates it from comedy, which tends to ridicule general types of people in ways that are ultimately redemptive. Satire is also rhetorically complex, and its critiques have a convoluted or indirect relation to the views of the author. Satire’s long history, which is not straightforwardly linear, means that it is impossible to catalogue all of the views on it from antiquity through to modernity. Modern criticism on satire, however, is easier to summarize and has often made use of ancient satirical traditions for its own purposes—especially because many early modern theorists of satire were also satirists. In particular, modern satire has generated an internal dichotomy between a rhetorical tradition of satire associated with Juvenal, and an ethical tradition associated with Horace. Most criticism of satire from the 20th century onward repeats and re-inscribes this binary in various ways. The Yale school of critics applied key insights from the New Critics to offer a rhetorical approach to satire. The Chicago school focused on the historical nature of satirical references but still presented a broadly formalist account of satire. Early 21st century criticism has moved between a rhetorical approach inflected by poststructural theory and a historicism grounded in archival research, empiricism, and period studies. Both of these approaches, however, have continued to internally reproduce a division between satire’s aesthetic qualities and its ethical or instrumental qualities. Finally, there is also a tradition of Menippean satire that differs markedly in character from traditional satire studies. While criticism of Menippean satire tends to foreground the aesthetic potential of satire over and above ethics, it also often focuses on many works that are arguably not really satirical in nature.

scholarly journals The Verse-Line as a Whole Unit in Working Memory, Ease of Processing, and the Aesthetic Effects of Form

2014 ◽  
Vol 75 ◽  
pp. 29-50 ◽  
Author(s):  
Nigel Fabb
Keyword(s):  
Working Memory ◽  
Aesthetic Experience ◽  
Literary Form ◽  
Psychological Perspective ◽  
Limited Capacity ◽  
Partial Explanation ◽  
Low Level ◽  
General Goal ◽  
The Aesthetic ◽  
Psychological Processing

Verse is text which is divided into lines. In this paper I explore a psychological account of how verse is processed, and specifically the hypothesis that the text is processed line by line, such that each line is held as a whole sequence in the limited capacity of working memory. I will argue that because the line is processed in this way, certain low-level aesthetic effects are thereby produced, thus giving a partial explanation for why verse is often a highly valued type of verbal behaviour. The general goal is to address the question of what literary form is, from a psychological perspective, and how the textual presence and psychological processing of form can contribute to particular aspects of the aesthetic experience of verse.

Schiller als Multiplayer im Theater

2021 ◽  
Author(s):  
Dong Hun Kim
Keyword(s):  
21St Century ◽  
Literary Form ◽  
Written Text ◽  
Dramatic Theory ◽  
The Sublime

The idea of the sublime is a key concept in Friedrich Schiller’s later dramatic aesthetic. This study demonstrates how the concept of the sublime in Schiller’s plays is implemented and transformed, starting from dramatic theory and then progressing to the written text before being portrayed on stage. Using the example of Schiller’s drama ‘Maria Stuart’, which was first performed in 1800, the author highlights how the sublime is depicted in the play according to its underlying concept and how it was realised in the first theatre productions of the play. Moreover, the author analyses a new stage adaptation of the play from the 21st century and shows to what extent its realisation of the concept differs from how it is represented in a literary form. By means of his analysis of the literary and theatrical depictions of the concept of the sublime, the author breathes essential new life into research into Schiller.

Rædan, areccan smeagan: how the Anglo-Saxons read

1997 ◽  
Vol 26 ◽  
pp. 1-22 ◽  
Author(s):  
M. B. Parkes
Keyword(s):  
Middle Ages ◽  
Subject Matter ◽  
Literary Form ◽  
Manuscript Transmission ◽  
The Subject ◽  
The Aesthetic ◽  
The Middle Ages

The Middle Ages inherited from antiquity a tradition of reading which embraced the four functions of grammatical studies (grammaticae officia): lectio, emendatio, enarratio and iudicium. Lectio was the process whereby a reader had to identify elements of the text — letters, syllables, words and sentences (discretio) — in order to read it aloud according to the accentuation required by the sense (pronuntiatio). Emendatio, a process entailed by the realities of manuscript transmission, required a reader (or his teacher) to correct the text in his copy, and sometimes tempted him to ‘improve’ it. Enarratio was the process of examining features of vocabulary, rhetorical and literary form, and above all of interpreting the subject matter of the text (explanatio). ludicium was the process of exercising judgement of the aesthetic qualities or the moral and philosophical value of the text (bene dictorum conprobatio).

scholarly journals La representación de la guerra civil y el fascismo en El siglo, de Javier Marías, y O ano da morte de Ricardo Reis, de José Saramago

2019 ◽  
pp. 165-178
Author(s):  
Gerard Torres Rabassa
Keyword(s):  
Civil War ◽  
Spanish Civil War ◽  
Mikhail Bakhtin ◽  
Historical Memory ◽  
Literary Form ◽  
Historical Knowledge ◽  
Literary Field ◽  
National History ◽  
Jose Saramago ◽  
The Aesthetic

This article analyses the representation of the Spanish Civil War and fascism in the novels O ano da morte de Ricardo Reis, by José Saramago and El siglo, by Javier Marías. Both texts respond to a desire to recover national history and at the same time testify to the search for new narrative aesthetics connected with international literary modernity. The novels, written in contexts of both political and literary transition, propose an elliptical, indirect and fragmentary representation of the Civil War. In dialogue with the theories of Mikhail Bakhtin, we will show that these novels try to produce historical knowledge through the work of the literary form, maintaining a doublé commitment: to historical memory and with the aesthetic renovation of the literary field.

scholarly journals Landscape glass as a form of dialogue with space

2018 ◽  
Author(s):  
Людмила Васильевна Казакова
Keyword(s):  
Window Glass ◽  
Work Process ◽  
Cultural Space ◽  
Landscape Art ◽  
Large Form ◽  
The World ◽  
The Subject ◽  
The Aesthetic ◽  
Modern Landscape

В статье рассматривается ландшафтное стекло как один из видов современного ландшафтного искусства. На примере пленэрных выставок 2000 – 2016-х годов уточняется художественная специфика жанра, его роль в установлении эстетической связи природы и объекта искусства, во включении природы в контекст культурного пространства. Новый жанр ландшафтного стекла формировался в контексте развития студийного авторского стекла, в свою очередь тесно связанного с общемировым движением, получившим название «Glass Studio movement». Художественный смысл этого процесса заключается в сугубо экспериментальном характере поисков авторского стиля, в стремлении найти современные средства выражения. В процессе творчества радикально меняются принципы формотворчества, расширяются границы жанра, по-новому осознается пластическая природа образа. Выставки Елагиноостровского дворца-музея в Санкт-Петербурге «Стекло и керамика на траве» и стали тем материалом, на основе которого изучается данная тема. Обращение художников к крупной форме, а это продиктовано масштабом пространства, расширили границы и принципы формообразования, меняли субстанциональные проявления стекла как материала, его возможность передать драматические коллизии мира, сложность и многомерность содержания. Особое внимание было обращено на технический эксперимент, в первую очередь, в работе с плоским оконным стеклом. The article considers landscape glass as one of the types of modern landscape art. The example of the open-air exhibitions of 2000-2016 clarifies the artistic specificity of the genre. Author reveals the role in establishing the aesthetic connection of nature and the object of art, in the inclusion of nature into the context of cultural space. A new genre of landscape glass was formed in the context of the development of studio author's glass, which in turn is closely related to the worldwide movement, called the Glass Studio movement. The artistic meaning of this process lies in the purely experimental character of the search for the author's style, in the striving to find modern means of expression. In the work process, the principles of form creation change radically, the boundaries of the genre expand, the plastic nature of the image is realized in a new way. Exhibitions of the Elaginostrovsky Palace Museum in St. Petersburg are the material on which the subject is studied. The appeal of artists to a large form, and this was dictated by the scale of space, broadened the boundaries and principles of form-building, changed the substantial manifestations of glass as a material, its ability to convey dramatic collisions of the world, complexity and multidimensional content. Particular attention was paid to the technical experiment, primarily in the work with flat window glass.

scholarly journals A New ‘Rhetoric of Darkness’: Joseph Sheridan Le Fanu, John Connolly and the Irish Gothic

Oceánide ◽  
2020 ◽  
Vol 13 ◽  
pp. 95-102
Author(s):  
David Clark Mitchell
Keyword(s):  
Literary Form ◽  
Crime Fiction ◽  
Charles Robert Maturin ◽  
Joseph Sheridan Le Fanu ◽  
New Rhetoric ◽  
English Reading ◽  
History Of ◽  
Charlie Parker ◽  
The Aesthetic ◽  
The Relationship

The relationship between Ireland and the Gothic goes back to the early days of the genre, when the Sublime, as identified by the Irish philosopher Edmund Burke, became central to the aesthetic concepts which would abound in the articulation of the Gothic as a literary form. The “dark, desolate and stormy grandeur” of the perception of Ireland which was held by the English reading public in the late eighteenth century was readily adaptable for the use of the island as a kind of pre-Enlightenment wilderness which, when combined with its linguistic, religious and cultural “otherness”, provided a fertile territory for the growth of a literature which favoured the supernatural, the uncanny and the numerous features which unite to make up the genre. As early as 1771, Elizabeth Griffin’s "The History of Lady Barton" contains elements of the Gothic, and the huge popularity of Waterford-born Regina Maria Roche’s "The Children of the Abbey"gave a definitive boost to the genre with regard to Irish writers. The success of Sydney Owenson’s "The Wild Irish Girl", and that of Charles Robert Maturin with "The Milesian Chief" and "Melmoth the Wanderer" helped foster a tradition which would be continued throughout the nineteenth century by writers such as Joseph Sheridan Le Fanu, L.T. Meade and Bram Stoker. It is Le Fanu who, arguably, was the first writer to merge the Gothic with crime fiction. For Begnall, his works “oscillate between the poles of supernatural horror and suspenseful detection”, and, in short fiction such as “The Murdered Cousin” and “The Evil Guest” and novels including "Uncle Silas" and "Wylder’s Hand" Le Fanu consciously merges the emerging format of the murder mystery with the lugubrious labyrinths of the Gothic. Le Fanu’s influence was, of course, international, but the paths he trod were also followed by numerous Irish writers. One of the most successful of these is John Connolly who, since the introduction of Charlie Parker with the publication of "Every Dead Thing" in 1999 has, in the eighteen novels which have appeared to date, successfully revised the concepts and tropes which make up the Irish Gothic. In this paper these works will be analysed with reference to their debt to the Irish Gothic tradition and, most specifically, to the writing of Le Fanu.

Translational Decadence: Versions of Gustave Flaubert, Walter Pater, and Lafcadio Hearn

2021 ◽  
Vol 49 (4) ◽  
pp. 807-829
Author(s):  
Stefano Evangelista
Keyword(s):  
Victorian Literature ◽  
Gustave Flaubert ◽  
Active Role ◽  
Literary Form ◽  
Theory And Practice ◽  
Walter Pater ◽  
Material History ◽  
Critical Scrutiny ◽  
The Aesthetic ◽  
Definition Of

Literary decadence played an active role in promoting the increased circulation and critical scrutiny of literary translations in the second half of the nineteenth century. Building on Walter Benjamin's influential definition of translation as an autonomous literary form, this article examines Walter Pater's “Style” (1888) and Lafcadio Hearn's 1910 translation of Flaubert's Tentation de Saint Antoine (1874) in order to map a theory and practice of decadent translation founded on the aesthetic and ethical respect for the foreignness of the original. Paying closer attention to the aesthetics of decadent translation, as well as its social networks and material history, generates new insights on the cosmopolitan culture of decadence and Victorian literature more broadly.

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