Extensive Quotation Research Articles

Multicriteria Decision Support Would Avoid Overdiagnosis and Overtreatment.

Population-level studies confirm the existence of significant rates of overdiagnosis and overtreatment in a number of conditions, particularly those for which the screening of asymptomatic individuals is routine. The implication is that the possibility of being overdiagnosed and/or overtreated must be mentioned as a possible harm in generating informed consent and participation from the individual invited to be screened. But how should the rates of such preference-insensitive population-level phenomena be introduced into preference-sensitive individual decision making? Three possible strategies are rejected, including the currently dominant one that involves presenting the rates relevant to overdiagnosis and overtreatment as discrete pieces of information about a single criterion (typically condition-specific mortality). Extensive quotation from a review of cancer decision aids confirms that processing this complex and isolated information is not a practical approach. However, the task is unnecessary, since an outcome-focused multicriteria decision support tool will incorporate the effects of overdiagnosis and overtreatment - along with the effects of any underdiagnosis and undertreatment.

Silent Warriors, Incredible Courage: The Declassified Stories of Cold War Reconnaissance Flights and the Men Who Flew Them. by Wolfgang W. E. Samuel, Jackson, MI: University Press of Mississippi, 2019. 291 pp.

<i>Silent Warriors, Incredible Courage: The Declassified Stories of Cold War Reconnaissance Flights and the Men Who Flew Them</i>. by Wolfgang W. E. Samuel, Jackson, MI: University Press of Mississippi, 2019. 291 pp.

Sound Words: Hymns in Twentieth-Century Literature

Abstract Why, in the twentieth century, do atheist or agnostic authors write so many hymns into their poems and novels? This essay contends that attending to the frequent but overlooked hymn episodes in early to mid-twentieth-century literature, and to their historical contexts, can complicate our understanding of literary postures of faith, and of everyday sounds as ‘filler’ in modernist literature. Focusing on Stevie Smith and D. H. Lawrence, with reference to a range of other writers, it draws on unpublished archival material to argue that hymn-history reveals an alternative narrative to that of religious writing as conservative, and literary writing as radical. Hymn-compilers often sought modernity, while poets and novelists tended to privilege older, more dated hymns. This ideological clash led to a literary approach which defiantly accommodated ‘bad old hymns’ through nostalgic reminiscence and extensive quotation. Used in this way, hymn oscillates between a status as textual padding and as focal point: an embarrassingly excessive and solid substance which nevertheless enables embarrassment to be discharged. Ultimately, the muffling, ostensibly authoritative substance of hymn, in twentieth-century literature, fills up gaps in which too much might resound or be revealed: it offers literary writing an opportunity to accommodate and neutralize awkwardness, failure and error.

Eternity’s Sunrise: The Imaginative World of William Blake. Leo Damrosch. New Haven, CT: Yale University Press, 2015. Pp. ix+332.

<i>Eternity’s Sunrise: The Imaginative World of William Blake</i>. Leo Damrosch. New Haven, CT: Yale University Press, 2015. Pp. ix+332.

Psychoanalysis in China: an Essay on the Recent Literature in English

Using extensive quotation, the author reviews the introduction and current state of psychoanalysis and psychoanalytic psychotherapy in China from the vantage point of recent publications in English. Psychoanalysis was briefly introduced to China before the Communist era, then forbidden, and has experienced an accelerated reintroduction since the late 1980s. The author briefly summarizes the cultural and historical background of China relevant to the introduction of psychoanalysis, the traumatic history of China, and the deep structure of thought and philosophical differences from Western culture that challenge a simple imposition of psychoanalytic ideas and practice, and some psychological effects of rapid cultural change throughout China. Training programs in China, the general enthusiasm for analysis among the Chinese, and a number of notable contributions by Western and Chinese authors are discussed. Also surveyed are the use of distance technology for training and treatment, the personal experience of Chinese senior and junior colleagues, and ongoing challenges to the continuing growth of psychoanalysis and analytic psychotherapy in China.

Niżyńska, Joanna The Kingdom of Insignificance: Miron Białoszewski and the Quotidian, the Queer, and the Traumatic (review)

SEER, 94, 3, july 2016 520 between writers; and about values possibly shared by Ukrainian authors (for example, that most aliens in Ukrainian fiction are benign, or that Ukrainian novels foretold solar energy technology). Walter Smyrniw’s book, although invaluable for specialists, over-indulges in a kind of wishful thinking better suited to science fiction than literary criticism. University of Exeter Muireann Maguire Niżyńska, Joanna. The Kingdom of Insignificance: Miron Białoszewski and the Quotidian, the Queer, and the Traumatic. Northwestern University Press, Evanston, IL, 2013. xiii + 259 pp. Notes. Bibliography. Index. $45.00. Joanna Niżyńska’s study of the work of Miron Białoszewski (1922–83), one of the most enigmatic authors of the Polish canon, makes two important interventions into the area of Polish literary studies. First of all, as a monograph solely about Białoszewski, it substantially augments the available scholarship on his work, particularly in English — though it is also sorely needed in Polish. Secondly, it provides an incredibly insightful queer analysis of a significant Polish author and his oeuvre, adding to the burgeoning area of queer studies in Polonistics. Niżyńska believes that, after more translation, Białoszewski’s work will be an important addition to the ‘transatlantic canon of Polish literature’ (p. 7), borrowing a term from Bożena Shallcross. I believe Niżyńska’s book is itself a timely contribution to the transatlantic canon of Polish literary studies. Chapters one and two present thorough close readings of Białoszewski’s Memoir of the Warsaw Uprising (1970) and his ‘small narrations’, which he composed from 1970 until his death in 1983. Niżyńska investigates the paradoxical character of these works, illustrating the ways the traumatic and exceptional become marked as common and everyday. She notes the Memoir’s creation of the ‘traumatic quotidian’, when the most mundane tasks turn into life and death situations, and the extraordinary becomes the unremarkable. For Niżyńska, in the uprising as presented by Białoszewski ‘there are no great deeds, but routine activities acquire the status of lifechanging events’ (p. 66). In making visible what is usually hidden, and in making the traumatic mundane, Białoszewski undermines the official historiography of the uprising; the Memoir is a subversive text, refuting the classically Romantic ethos of the ‘beautiful death’, and refusing to venerate the uprising as many other literary treatments have done. It becomes an important ‘counternarrative’ (p. 10) to the martyrological model of the event. In her analysis of Białoszewski’s life writings, such as the ‘small narrations’, Niżyńska sees a continuing influence of the traumatic quotidian from the REVIEWS 521 Memoir. The paradox of these works is revealed in the everyday as being ‘“only” the everyday and yet it is always already “something more”’ (p. 20). The banal in the life writings is constantly punctuated by traumatic traces. Rather than reading the uprising as ‘a self-contained event’ in Białoszewski’s biography, as many critics have, Niżyńska insists that it is ‘a force that continually shaped his writing’ (p. 103). This continuation of the traumatic in the small narrations is best exemplified in the flashbacks that interrupt Białoszewski’s accounts. The ‘quotidian encounters’ of Warsaw post-uprising are transformed into ‘traumatic encounters’ that evoke the trauma of the past (p. 111). InchapterthreeandtheEpilogueNiżyńskamovesherfocustoaqueerreading ofBiałoszewski’slifeandwritings,asking‘howourknowledgeofBiałoszewski’s homosexuality can most productively enter into our interpretation of his work’ (p. 176). She coins the phrase the ‘Lubiewo effect’, referring to the 2005 novel by Michał Witkowski, noting his extensive quotation from one of Białoszewski’s stories. Thanks to the popularity of this unapologetically queer novel we are no longer able to read Białoszewski naively, ‘that is, as if this intervention had not happened and as if the subject of homosexuality were not on the table in Polish cultural criticism’ (p. 135). For Niżyńska the fact of Białoszewski’s sexuality is eminently important to any accurate analysis of the Memoir. Its ‘unapologetic indifference to masculine valor’ (p. 180) is a threat to traditional, normative Polish identity, as has been illustrated in several reviews of his...

Becoming Heinrich Schenker: Music Theory and Ideology. By Robert P. Morgan

‘Music and Music’s laws lay hid in night; God said, Let Schenker be! and all was light.’ No one at all familiar with the writings and opinions of Heinrich Schenker—the eightieth anniversary of whose death (13 January) as well as the posthumous publication of his final theoretical text, Der freie Satz, falls in 2015—would be much surprised were such a self-penned reworking of Alexander Pope’s epitaph for Isaac Newton to be found among his unpublished papers. The thought is prompted by Robert P. Morgan’s comparison, towards the end of this book, of the scientist and the music theorist, though Morgan is quick to point out that ‘Schenker’s musical universe did not, like Newton’s physical one, achieve instantaneous equilibrium, nor did it then maintain a perpetual steady state’ (p. 224). The comparison arises within a discussion of the ‘scientific orientation’ of Schenker’s work, part of the concluding chapter of the volume. This, together with a ‘critical assessment’ of Schenker’s ‘final theory’ and a similar assessment of his ideology, makes up Part III (‘Reconsideration’: pp. 183–229). The book begins with an Introduction and an ‘overview of Schenker’s mature theory’ (Part I: ‘Theory’, pp. 3–37 at p. 14) and proceeds (Part II: ‘Development’, pp. 41–180) to a chapter-by-chapter exposition of the publications through which his development as a music theorist can be charted: the 1895 essay ‘Der Geist der musikalischen Technik’; Harmonielehre (published in 1906 without the definite article that Morgan’s chapter heading erroneously supplies); the two chronologically separated volumes of Kontrapunkt; the ‘monographs’, from the early study (1903) of C. P. E. Bach through to the Erläuterungsausgabe of Beethoven’s Piano Sonata in A, Op. 101 (1921); then Der Tonwille and Das Meisterwerk in der Musik, and finally back to Der freie Satz. Extensive quotation from Schenker’s writings is conspicuous in these and the chapters of the flanking parts (the German-language original texts are collected together on pp. 230–63), and several graphs are reproduced, in whole or in part, along with other music examples.

“The Artifice of Eternity”—Reading Yeats

“The Artifice of Eternity”—Reading Yeats Denis Corish (bio) Or reading, at least, some major poems of his, and others in the light of those. The reading I have in mind is not a scholarly one in the sense of being a professional study of Yeats; it is instead a reading from the point of view of someone who finds Yeats’s poetry fulfilling, acute, and pleasurable, one who would immediately make readable sense of it (to the extent that that is possible) and do so partly through extensive quotation from the poems. This is not the only way of reading Yeats. It is personal, derived from a prolonged acquaintance with the poetry, much of it got by heart—which getting, it seems to me, is the due of a good poem. I shall be concerned particularly with a large view, rather than with Yeats’s obvious more immediate and appealing gift for imagery, as in the case of the “marvellous empty sea-shell flung / Out of the obscure dark of the rich streams” in “Ancestral Houses” from Meditations In Time of Civil War (1923), or with his use of abstraction as though it were imagery, as in the case of the “magnanimities of sound” of the linnet in “A Prayer For My Daughter.” The mind of a poet, certainly of such a thoroughgoing poet as Yeats, is bigger than any particular development. To repeat, I should like to dwell here and there on this or that point, being content to follow the single thread of what I have to say in a labyrinthine way so that the effects of the poetry are not sacrificed to mere scholarly forward progress. From this point of view we shall see that some of the earlier work, poem or play, is created in much the same way as some of the later work. The peculiar unity of Yeats’s poetry emerges out of diversity: the contrast between the physical life, both necessary and beloved, and the transcendent vision of art. Often, as is well known, Yeats will complain about, even denounce physical circumstance, especially that of growing old; he will hold up instead the vision of art as eternal. This eternity, it should be emphasized, is the orthodox traditional one; not the infinite time of Shakespeare’s sonnets—“When [End Page 102] in eternal lines to time thou growest”—but the single, simple timeless moment of Parmenides, Plato, and Boethius. The obvious poem to begin with is “Sailing to Byzantium” from The Tower (1928). Yeats declares in A Vision—a prose meditation (which grew out of his experiments with automatic writing with his wife, Georgie Hyde-Lees) on the intersections of philosophy, history, the occult, and the life of the imagination—that were he given a chance to visit a place in antiquity, Byzantium, “a little before Justinian opened St. Sophia and closed the Academy of Plato,” would be that place. “I think I could find in some little wine-shop some philosophical worker in mosaic who could answer all my questions, the supernatural descending nearer to him than to Plotinus even.” For poetic insight the supernatural is the essential thing. In “Sailing” Yeats quits Ireland, in some symbolic sense, as “no country for old men,” and sails the seas to “the holy city of Byzantium.” Ireland is too much a place where “whatever is begotten, born and dies,” is commended by “fish, flesh, or fowl,” the latter being “birds in the trees / —Those dying generations—at their song.” Such a mere stream of life inhabits a quite different world from the eternal, supernatural, transcendent one of art: “Caught in that sensual music all neglect / Monuments of unageing intellect.” Here we turn aside a little from the labyrinth. The mere stream of life, as opposed to the simple, singular, eternal beauty, is depicted in “Easter 1916.” The leaders of the rebellion, executed by the British, had in life been thought by Yeats to have, like himself, “lived where motley is worn.” They were good for “polite meaningless words” or a joke aimed at them “around the fire at the club,” but their deaths changed all that: “All changed, changed utterly: / A terrible...

French Poets and British Reviewers, 1814–30

In mainstream studies of French literary history, the Bourbon Restoration of 1814 is often viewed as a pivotal event which encouraged the burgeoning of French Romanticism. The familiar narrative is that, while (with a few notable exceptions) poetry largely stagnated during the Revolutionary and Napoleonic Wars, it flourished again after 1814 with the emergence of writers such as Marceline Desbordes-Valmore, Alphonse de Lamartine, Alfred de Vigny, Pierre-Jean de Beranger, Pierre-Antoine Lebrun, Victor Hugo, and others. By the 1840s, it was commonly asserted (in Britain and elsewhere) that ‘[w]ith the restoration of the Bourbons in 1815, the French romantic school of literature was ushered into existence’, and this interpretative stance has remained surprisingly constant ever since. There are differences of detail, of course. For some, the appearance of Desbordes-Valmore’s Elegies et Romances in 1819 inaugurated a discernable shift in poetics, while for others, this did not occur until the publication of Lamartine’s Meditations poetiques in 1820. Nonetheless, Rosemary Lloyd has recently (re)affirmed that Lamartine introduced ‘a new poetic sensibility’, and literary critics and cultural historians alike have routinely argued that, by comparison with similar developments in Britain and Germany, French Romanticism was ‘a belated literary phenomenon’. Despite the broad consensus about these matters, there have been few detailed assessments of the way in which British writers and critics evaluated French poetry (both ancient or modern) during the period 1814 to 1830. Predictably, the main critical focus has repeatedly fallen upon the pervasive scepticism concerning French neoclassical poetry from the seventeenth and eighteenth centuries, and particularly its (apparently) deleterious influence on English literature. Keats’s caustic lambasting of the Augustans in ‘Sleep and Poetry’ (1817) is too well-known to require extensive quotation, but the following lines are especially pertinent here:

Envisioning World Literature in 1863: From the Reports on a Mission Abroad

Veselovsky has assigned a task to scholarship which can hardly ever be solved. The Russian formalists, however, have taken up his challenge.—René Wellek (279)The task, which many feel is beyond their abilities, lies within the power of scholarship.—A. N. VeselovskyALEXANDER NIKOLAEVICH VESELOVSKY (1838-1906) IS WIDELY REGARDED AS RUSSIA'S MOST DISTINGUISHED AND INFLUENTIAL Literary theorist before the formation of Opoyaz (“Society for the Study of Poetic Language”), whose members—Viktor Shklovsky, Boris Eikhenbaum, Yury Tynianov, Roman Jakobson, and others—developed the approach generally known as Russian formalism. Readers of Shklovsky may note the prominence accorded to Veselovsky inTheory of Prose(1925). Some will also recall the use of the termhistorical poetics—in reference to the method put forward by Veselovsky—in the 1963 edition of Mikhail Bakhtin's book on Dostoevsky and in his “The Forms of Time and Chronotope in the Novel: Notes towards a Historical Poetics” (1937-38, pub. in 1975). Another eloquent testimony to Veselovsky's spectral ubiquity in Russian literary theory is the concluding paragraph of Vladimir Propp's pathbreakingMorphology of the Folktale, where Propp humbly asserts that his “propositions, although they appear to be new, were intuitively foreseen by none other than Veselovsky” and ends his study with an extensive quotation from Veselovsky'sPoetics of Plot(115-16). It is rarely recognized, however, that Veselovsky's method, in its rudimentary form, constitutes a common denominator of Shklovsky's, Bakhtin's, and Propp's widely divergent approaches.

'That was what Life in Bridgeburn had Made Her': Reading the Autobiographies of Children in Institutional Care in England, 1918-46

Historians and sociologists who have utilized self-narratives have frequently encountered the dilemma of providing either extensive quotation without analysis, or selective quotation to serve an analysis. New approaches developed after the challenge from post-structuralism are frequently flawed; for example, cultural analyses can be reductive, slotting personal accounts into categories of discourse. Although historians such as Mathew Thomson and James Hinton have emphasized the importance of individual subjectivity while acknowledging the constructed character of self-narratives, a productive new approach has failed to develop. Following psychologist Carol Gilligan’s Listening Guide, in this article I will conduct a close reading of four extracts from autobiographies written by subjects who were in institutional care in England as children between 1918 and the early 1940s. This method helps to solve our central dilemma by combining a consideration of the text as a whole with close analysis. Paying rigorous attention to these four texts as well as a range of self-narratives from children in care during this period may begin to illuminate our understanding of the experience of institutionalization, and how state welfarist policy that elided the distinction between the neglected and delinquent child might be negotiated by the subject in practice.

Lennox and Freda. By Tony Scotland.

In 1992 the well-established genre of the British composer biography underwent a step change. Humphrey Carpenter's Benjamin Britten, published that year, claimed to draw ‘a disturbing and unforgettable portrait of “a man at odds with the world”, in Leonard Bernstein's phrase’. By allowing many different voices to make their presences felt through extensive quotation from interviews, letters, and other documents, Carpenter sought to move beyond celebratory hagiography into the kind of psychological interpretation that attempted to lay bare not just the man behind the music but the motives and manners that often seem to link life and work in a richly interactive dialogue. Three years before Carpenter's epoch-making work, Meirion and Susie Harries had published A Pilgrim Soul: The Life and Work of Elisabeth Lutyens. In its more economical way, this anticipated many aspects of Carpenter's forensically documentary approach: but Carpenter's example is probably more germane to such later enterprises as Mike Seabrook's Max: The Life and Music of Peter Maxwell Davies (1994), Stephen Banfield's Gerald Finzi: An English Composer (1998), and the three collaborative volumes by Anthony Meredith with Paul Harris: Malcolm Arnold: Rogue Genius (2004), Malcolm Williamson: A Mischievous Muse (2007), and Richard Rodney Bennett: The Complete Musician (2010). Outweighing all of these in length and scope is John Tilbury's Cornelius Cardew: A Life Unfinished (2008). But even Tilbury retains one link with all his fellow post-Carpenter biographers: the formality of keeping both surname and forename in the title is preserved. And so the first thing to say about Tony Scotland's Lennox and Freda is that it is emphatically not a lurch into fiction, for all that the title evokes multiple precedents in drama and literature from Shakespearean romances to L. P. Hartley's classic Eustace and Hilda. The ‘factional’ potential of the tale might seem to be being played up when Scotland includes a prefatory section headed, not ‘Personalia’, but ‘Dramatis Personae: an alphabetical list of the principal characters’. Scotland is not, like Carpenter, a biographer who never met his subject, and he played his part in the family dramas of the composer's last years; but he is no less dedicated than any of those earlier writers to documenting as fully and as frankly as possible the details of the life—and the eventual marriage—that underpinned the work.

Where Never Before: Beckett’s Poetics of Elsewhere/La poétique de l’ailleurs ed. by Sjef Houppermans

that poetry is a better path to truth than philosophy since it effectively mimics the act of formation of the world in all its complexity. The sixth chapter, “Distinctio: l’ordre des choses,” describes the innovations Du Bartas makes in the first three days, showing how the four elements provide the hermeneutic framework to organize the physical world. Chapter seven, “Oranatus: les langages de la science,” elaborates a new scientific and poetic language capable of representing the conflicting aspects of the liminal zone of Du Bartas’s Creation. Giacomotto-Charra concludes by pointing out that La Sepmaine unites sixteenth-century poetic and philosophical writings; like the elemental world which it describes, Du Bartas’s poetry is subject to circular generation and is constantly redefining itself. This reader would have liked a proposal for new nomenclature, but GiacomottoCharra merely restates the fact that the particularity of such poetry is that it escapes not only definition but also our systems of representation. Such ambivalence, combined with extensive quotation on mimesis from Tasso, make for a disappointing end to an otherwise thorough and well-researched work which focuses on Aristotle but relies on countless others to elucidate Du Bartas’s unique take on the Creation myth. University of Mary Washington (VA) Brooke Donaldson Di Lauro HOUPPERMANS, SJEF, et al., eds. Where Never Before: Beckett’s Poetics of Elsewhere/La poétique de l’ailleurs. Samuel Beckett Today/Aujourd’hui 21. Amsterdam: Rodopi, 2009. ISBN 978-90-420-2814-2. Pp. 256. 52 a. Volume twenty-one of Samuel Beckett Today/Aujourd’hui takes its title from Beckett’s late poem “Brief Dream”: “Go where never before / no sooner there than there always.” As a whole, the essays comprising this volume can be said to serve, oftentimes beautifully, as a reflection on this enigmatic theme. Twenty years into its history, the review both returns to its origins and opens up exciting new pathways toward what might lie in its future. The editors begin with a note tracing the history of what has quickly become the essential international forum for Beckett studies, as it was launched by Sjef Houppermans and Matthijs Engelberts, both still acting editors, along with Marius Buning, who passed away in 2008. This issue, then, is in honor of Buning, whose tireless devotion to the journal is described by the editors with heartfelt grace and appreciation. Alongside his editorial work, Buning published two important essays in the journal (in volumes one and nine), in which he primarily approached Beckett through the themes of allegory and negative theology. The lasting contribution of Buning’s work is acknowledged by a few dedicatory essays here, notably those by Chris Ackerley and Mary Bryden, and his approach to Beckett is most thoroughly and lucidly explored by Anthony Uhlmann in the volume’s remarkable opening piece, “Negative Allegory.” Uhlmann deftly explicates the two themes originally undertaken by Buning and explores how they can be taken together as a single entity, one that might lead to a rich and as yet unexplored means of understanding Beckett’s work. Uhlmann borrows chiefly from Paul de Man’s now canonical conception of modern allegory, understood here as a rhetorical system “in which one system of signs doubles or reflects a second system” (19); it is a mode of signification that is “fragmented and subjective” (18), rather than reliant 950 FRENCH REVIEW 85.5 on the compulsive one-to-one correspondence with which many generations associated the form. Freed from the strictures of direct correspondence, modern allegory becomes “a form that allows literary texts to engage with abstract systems, or fragments of abstract systems, so as to generate meanings that bring us into contact with these systems” (23). Thus understood, allegory becomes structurally analogous to the method of the via negativa, in that both become productive means of expressing the unsayable, of finding meaning in what in itself remains, as it were, unnamable. While Uhlmann most explicitly tackles these two paths toward understanding Beckett, many of the volume’s remaining essays might be called implicit examples of what Uhlmann calls “negative allegory” (25), or the production of meaning out of the apparent sign of its absence. Uhlmann’s formulation is remarkable...

The Punch Brotherhood: Table Talk and Print Culture in Mid-Victorian London (review)

Reviewed by: The Punch Brotherhood: Table Talk and Print Culture in Mid-Victorian London Clare Horrocks (bio) Patrick Leary , The Punch Brotherhood: Table Talk and Print Culture in Mid-Victorian London (London: British Library, 2010), pp. v + 197, £25 cloth. Worthy recipient of the Robert and Vineta Colby Scholarly Book Prize from the Research Society for Victorian Periodicals, this text is an outstanding insight into the world of Victorian periodicals and publishing. It will be invaluable to scholars of Punch but also to researchers looking more widely at the literary marketplace in which the magazine circulated. The purpose of Leary's text is to examine "the magazine as a business enterprise and working community" (6). He does this through a consideration of the "multi-vocality" of mid-Victorian culture, Chapter 1 being a study of "The Brotherhood of the Punch Table." This chapter provides an overview of the period, identifying the key contributors to the magazine. Though brief, the extensive and extremely well-researched footnotes ensure that by the end of the chapter you can really begin to understand the [End Page 404] character of Punch. The central argument of the book is that oral culture was a fundamental part of the social and material context of Victorian culture. The Punch dinners, where the magazine's main cuts and topics for each issue were debated, typified the increasingly blurred boundaries between private and public life, reinforcing the crucial relationship that existed between talk and print. Leary's reexamination of the infamous "Garrick Club Affair" and the quarrel between Dickens and Thackeray in Chapter 4 affirms this. Chapter 2's examination of the main cuts provides a more traditional commentary on how topics were chosen. However, Leary's work is enhanced by using transcriptions of conversations at the Punch dinners taken from Henry Silver's diary, a little-used resource that is central to the contribution that this book has to make in understanding "Gossip and the Literary Life," as Chapter 3 goes onto develop. Extensive quotation from the diary throughout Leary's work has readers guffawing out loud at the boyish and raucous behaviour reported at the weekly dinners, providing a gem of an insight into author/illustrator/publisher relations in this period. There are references to an abundance of original and untapped source materials throughout the book, including the diaries of comparatively neglected author Shirley Brooks (Chapter 5). However, perhaps the most significant contribution of the book is the final chapter on "Bradbury and Evans and the Personal Politics of Print Culture." In this chapter, Leary examines Bradbury and Evans's shift from printer to publisher, reflecting on Punch before the change of ownership in 1842 and on how significant the change of printer and publisher was in ensuring the magazine's viability. There is a wealth of information about the business of producing magazines that brings the text full circle to its opening claim for needing to understand Punch as a model of a working community. The Punch Brotherhood is lavishly illustrated with examples from across the pages of Punch—not just the main cuts—giving the text an appeal outside an academic readership. However, it is for the richness of the research that this book is to be commended. Footnotes at the bottom of each page, supplemented by the extensive bibliography and archival references, provide a vital tool for any scholar wishing to develop his or her understanding of the period. The writing style is concomitant with one who is clearly at ease with the subject; the depth of the research appears effortless. And yet, as I know from my own work on Punch, it is a magazine whose records are frustratingly dispersed across different archives of writers and publishers. To bring them together, to provide so seamless a picture of Victorian print culture, is no mean feat. Since Richard Altick's magisterial tome of 1999, there has only been one other scholarly work on Punch, Alan Young's 2007 thematic examination of Punch and Shakespeare. [End Page 405] I closed my review of that text in Victorian Periodicals Review by stating that there was much more work that needed to be undertaken to examine the wider...

The Ethical Importance of Extensive Quotation of Reviewed and Cited Authors

Reviews. There are two genera of unfair reviews: those that critique a book or article for not having the aims the reviewer might wish it had and argue against the work under review for its other and different aims, and those that represent the author of the book or article under review as holding views or making arguments (or citing evidence in favor of either) that are neither in nor genuinely supported by the text. (Notice that the latter genus of unfair review can certainly redound to the reviewed author's considerable advantage, but to the ultimate detriment of the review's readers who must rely on the reviewer because they have not [yet] read the work under review. [See Fulda, 2006.])Extensive quotation-providing the reader with both text and substantial context-very nearly precludes both genera of unfair review. All that is necessary is disclosure of the aims and scope of the work under review by extensive quotation from the preface and for each substantial criticism - whether favorable or unfavorable-of a view or argument (or evidence cited for either), once again, extensive quotation of that view or argument with enough text so as to preserve context. Following that, the reader has what he really needs to judge for himself whether the reviewer is or is not on the mark as the reader sees it. The same is true of criticism, again whether favorable or unfavorable, of the writing: Show the reader; do not merely tell him. Of course, the reviewer is adjured not to give away the store, either! And the reviewer who does otherwise in this last regard is violating the author's moral rights and potentially his legal rights, by exceeding use and potentially fair use.Yes, this method can and often will weigh down reviews-especially if the work under review is not well-written-not to mention that it will almost always make the reviews significantly longer. But it does provide a check on reviewers' tendencies to substitute their own aims for the reviewed author's and their own view of what the author says and means for what he actually says and means.1Citations. The situation with cited authors is quite different and much more complicated. Authors can fairly be quoted-and I have often done just that in selecting an epigraph-out of context, provided either the quoted author's aims are not represented-explicitly or implicitly, and that last is crucial-as being in accord with the quoting author, or the quoting author disclaims the same or similar aims, or both. But, then, quotation is the simplest and least ethically complicated type of citation, and not the usual type.Much more often, a cited author is not quoted, but is simply cited in support of or as contrary to a particular view or argument. In my experience, this is where the ethical problems usually lie. For oftentimes, a check indicates that the cited author does not actually hold the view as claimed or cannot easily be used to support or controvert the argument at issue. This has happened to the present author numerous times (although not as numerous as merely frivolous citations which appear to serve no purpose at all-at least none for the reader, although their presence indicates that they must have satisfied some purpose for the author, editor, or reviewers). What to do about this is perhaps less obvious.If the citing author is self-aware, he can and should limit his claims and hedge his arguments, and adjust his authorial voice to reflect his degree of (un)certainty about both, although this last is certainly not so easy a task. But that is simply not enough. When the arguments of the cited author are subtle and complex and the claims of the cited author are themselves hedged and nuanced, almost any paraphrasing of them amounts to a heavily interpreted rendition which unethically saddles the cited author with views he may not endorse (and more importantly has not actually claimed) or arguments he might disavow (and more importantly has not actually made). …

To Think and Watch the Evil: The Turn of the Screw as Cultural Reference in Television from Dark Shadows to C.S.I.

Since its first publication, Henry James’s The Turn of the Screw (1898) has always haunted the imagination of artists (Benjamin Britten, Jack Clayton, Amenábar) and has been widely used as a source for television narratives (Dan Curtis, US TV version starring Colin Firth, Tim Fywell). In serial productions, James’s story has been the object of extensive quotation and allusion, from the 1960 gothic soap opera Dark Shadows to the C.S.I. episode Turn of the Screw (Season 4, Episode 21). A milestone in literary history, the story now embodies a set of cultural references conveying different, complex meanings, which can only be disclosed in the light of contemporary forms of representing reality. The novella appeals to two apparently opposite tendencies in contemporary television: the morbid display of the real (C.S.I.) and the quest for the supernatural (Buffy The Vampire Slayer, among others). A line can be traced from Dark Shadows, the show that pioneered the genre, to contemporary horror soaps about vampires and supernatural phenomena. This paper shows the ways in which James’ sophisticated novella makes its way through popular culture, and how its constant ambiguous, dilemmatic interplay between reality and imagination can be related to the double-sided drive of the contemporary public towards hyper-reality and the supernatural.

An Anthology of Modern Italian Poetry: In English Translation, with Italian Text. (Texts and Translations, 25) by Ned Condini, Dana Renga

MLR, 105.4, 2010 1167 build a Canadian identity, the latter tomaintain a Catholic French Canadian one. She cogently argues that the giftedRoy was no victim but rather a beneficiary of this power struggle, successfully manipulating both sides, not just as a survival tactic, but as a source of power and pleasure' (p. 19). Roy was thus able to shape the open bilingual and bicultural identity thatwould ultimately be the basis of her outstand ing achievement as a francophone author successfully bridging the 'two solitudes' of Canadian writing in French and in English. Chapman then concentrates on Roy's fictional and autofictional depiction of the play of power relations in a diglossic educational environment, focusing on the teacher as thedesignated vector of opposing colonial narratives (anglophone or francophone), but also as a force for their transformation where the identity of the other' (including aboriginal, metis, and immigrant) iswelcomed and valued. She follows thiswith a particular emphasis on the issue of language, examining the communicational difficulties of Roy's protagonists and the inequalities of power thereby displayed. This reflection on the problematic aspects of interlingual and intercultural relations is subsequently reoriented to an analysis of theways inwhich translation intoEnglish has simultaneously widened the ambit and modified perceptions of Roy's ceuvre across itsdiverse Canadian readership. Chapman then concludes with a discussion of excerpts from Roy's 1940-46 pan-Canadian journalism commissioned by the Quebec-based Bulletin des agriculteurs, and the later transmutation of some of this material in fictional texts such as La Riviere sans repos (1970). Roy's criss-crossing ofCanada is argued as both personally formative and paradigmatically exemplary, developing her lifelong search, born of the duality of herManitoban upbringing, for more fluid and more open forms of identity, while also constructing an itinerary readable theoretically as a movement produced by colonial power relations thatprefigures and explores the possibilities of the postcolonial' (p. 18). Chapman's book offers new areas of significant reflection to Roy specialists, while simultaneously opening up her work to a wider range of readers interested in postcolonial studies, translation studies, and language policy, the latter still an area of significant tension within Canada, notably but by no means exclusively inQuebec. Extensive quotation, including original and translated excerpts from Roy's corpus, supports Chapman's analysis. It is to be hoped that the extracts of Roy's original French will encourage all those not already familiar with her work to explore further the poignant clarities of her unique literaryvoice. University of Leeds Rachel Killick An Anthology of Modern Italian Poetry: In English Translation, with Italian Text. Ed. and trans, by Ned Condini. Introduction and notes by Dana Renga. (Texts and Translations, 25) New York: Modern Language Association of America. 2009. xxxvii+431 pp. $11.95. ISBN 978-1-60329-032-6. This dual-language anthology comes as a most welcome contribution to a still limited corpus of Italian poetry in translation. It brings together the work of thirty-eight Italian poets from the end of the nineteenth century to n68 Reviews the contemporary period, some translated for the first time. Canonical texts such as Guido Gozzano's 'La signorina Felicita owero la felicita, Dino Campana's 'Chimera', and Pier Paolo Pasolini's 'Le ceneri di Gramsci' are included alongside lesser-known works by poets such as Gian Pietro Lucini, Roberto Sanesi, and Luigi Fontanella. Women poets are particularly well represented and integrated into the anthology, from Amelia Rosselli, Antonia Pozzi, and Maria Luisa Spaziani to Sibilla Aleramo and Amalia Guglielminetti. There are, however, some notable omissions, especially Vittorio Sereni and Attilio Bertolucci, who, as central protagonists for the development of the lyric form, one would expect to find represented alongside contemporaries such asMario Luzi and Franco Fortini. Ned Condini's translations are highly readable and he skilfullymoves between different registers and styleswhile maintaining a consistency of voice across the work of individual poets. Considerable effort is also made to preserve something of the original rhythm and metrics, with the translator opting for themost suitable equivalent rhymes or half-rhymes in English, and often playing very effectively with assonance and consonance. An emblematic example comes in Condini's translation of D'Annunzio's 'La pioggia nel...

Empathy and applied psychology: Dunne’s (2006) report on ‘The views of adult users of the public sector mental health services’

Dunne’s (2006) report on the ‘The views of adult users of the public sector mental health services’ poses a number ofmethodological and epistemological challenges for the practice of applied psychology. In particular, through its use of extensive quotation and Socratic questioning, it foregrounds the ‘voice’ of organisational stakeholders. Methodologically, ‘voice’ becomes the basic unit of analysis, and epistemologically, this makes empathetic understanding the key challenge of the survey. In this article, I will examine this process of empathetic understanding by looking at Dunne’s (2006) report through the hermeneutic lens of Dilthey (1976), Bakhtin (1981, 1984, 1990, 1993), and Gadamer (1975). The implications of applied psychology will be drawn out – in particular the potential of a messy and creative boundary between the literary and the scientific will be explicated.

The Kansas City Star Welcomes The Hemingway Society

From 9–15 June 2008, The Hemingway Society will hold its biennial international conference in Kansas City, Missouri, where a teenaged Hemingway worked as a cub reporter on The Kansas City Star in 1917 and 1918. Here Mark Zieman, editor of the Star, welcomes the Society with a look at the city's attractions, a wealth of anecdotes about Hemingway's time with the newspaper, and extensive quotation from a previously unpublished Hemingway letter to his father about his fast-paced life at the Star.

"'Drive,' He Said": How Ted Brumback Helped Steer Ernest Hemingway into War and Writing

From 9–15 June 2008, The Hemingway Society will hold its biennial international conference in Kansas City, Missouri, where a teenaged Hemingway worked as a cub reporter on The Kansas City Star in 1917 and 1918. Here Mark Zieman, editor of the Star, welcomes the Society with a look at the city's attractions, a wealth of anecdotes about Hemingway's time with the newspaper, and extensive quotation from a previously unpublished Hemingway letter to his father about his fast-paced life at the Star.