Heart Of Literature Research Articles

Eco-Translation of The Dove’s Necklace

Objectives: This essay aims to examine how environments and places are portrayed in a literary work and their translation, drawing attention to how spaces and landscapes are reflected and recreated in this work. The emphasis is on the premise that language, environment, and landscape, which are at the heart of literature, should be translated into certain other linguistic and environmental mediums throughout the translation. Therefore, the main goal of this research is to reveal, through an ecocritical approach, Alem's translators' translational preferences to recreate the ecological and spatial setting she expresses in her novel, The Dove’s Necklace. Additionally, to investigate if these translational preferences aid in enhancing environmental awareness and space image amongst target readers. Methods: This is a descriptive study that employs qualitative approaches. A comprehensive reading of the work is necessary to verify the novel's translations of landscape and bioregion references following Toury's (2012) proposed translational norms. Results: The results show that the translators of the target text have generally benefited from the tendency towards literal translation. In other words, the translators' literal translation method aided in conveying the same environmental image. Consequently, the intended reader becomes aware of an ecological reality that exists outside of their own settings. Conclusions: Scholars do not widely accept literal translations, although they may effectively convey the text and its impact.

Modernism’s Others: Literary Realisms in an Age of Incomplete Emancipation

Abstract Modernism’s Others explores how a transformation in traditions of realist representation laid the grounds for the emergence of the multicultural and avant-garde constructions of modern American literature. At the heart of this investigation is the way the “right to privacy” articulated at the end of the nineteenth century reshaped visions of separate spheres, differential rights, and public duties. It examines a moment at which writers placed, at the heart of literature’s ethics and its epistemology, the right to not be known. Tracing the career of this idea from its roots in late nineteenth-century realism through the emerging canons of modernist and multicultural literature, this project explores the interplay between new categories of legal right, new categories of social analysis, and new measures of literary value. “Selling somebody out” slouches into American literature, more or less, on the heels of Bartley Hubbard.

Ideas of Poetics and the Close Reading of Poetry

Ranjan Ghosh and J. Hillis Miller provide different but productive ways to think about poetics and to read poetry closely and with attention. As a poet, reader and critic of poetry, I welcome their thoughts on the theory and practice of poetry. Whereas Miller sees the reading of poems as subjective and selective, Ghosh views it as universal and shared. Both readers help us in the drama of meaning, the tension between them. As convivial and suggestive as that difference between Miller and Ghosh may be, it allows us to experience the different sides of poetry and the philosophy of poetry, if we think about, say the Socratic, Platonic, and Aristotelian tradition of thinking about poetry and even Philip Sidney's response on the one hand and the rhetorical tradition of reading poetry on the other. Ghosh, although having mastered Western literature and poetry, as Miller has, also provides us with Eastern views, and this is also of great benefit to the reader of Thinking Literature Across Continents ( 2016 ). One of the great centres of literature is language and poetry is compressed and memorable language that forms the heart of literature: it is a key to thinking about Ghosh and Miller thinking literature across the various parts of the world.

The Paradox of Narrative Empathy and the Form of the Novel, or What George Eliot Knew

There is a paradox at the heart of literature that has not been sufficiently explored in theories of the novel, a paradox that could be expressed like this: if readers feel themselves into the fictive Other’s inner life they may simultaneously participate in the generation of the Other—or the Other’s Other. This paradox suggests that empathy in literature is not without its ethical costs. In asking us to empathize with certain characters, empathy is blocked for others. The ethical potential of literature is often assumed to originate in its appeal to our empathy; but if empathy in literature is intimately bound up with processes that create the Other, any straightforward connection between literature and ethics is disrupted. This article uses Silas Marner (1861) as a case study to explore what I call the paradox of narrative empathy, while also revealing an unforeseen ethical insight at the heart of George Eliot’s novel that has not previously been attributed to that “charming minor masterpiece.”

Persuasive Ironies:

Persuasive Ironies:

A new direction in research on sexual selection in humans

There are two distinct questions at the heart of the facial masculinity literature—the function of the trait, and women’s preferences for it. I argue that we should establish the former before we explain the latter. Women’s preferences for facial femininity indicate that we cannot presume attractiveness explains selection for secondary sexual traits like facial masculinity. A new direction in research on sexual selection in humans. This is a timely and much needed critical evaluation of the support for the immunocompetence hypothesis generally, and of the trade-off hypothesis specifically. There are 2 questions at the heart of this literature, and we have been led astray by asking only 1 of them. Facial masculinity is a secondary sexual trait, which means it evolved because it provided some advantage in mating competition (Andersson 1994). If we are to understand when and why women find masculinity attractive, our explanation ought to be informed by the function of the trait. Emphasizing the former question to answer the latter can lead to problems, as was made clear to me in the review article. In the section, “Female responses to masculinized stimuli may reflect preferences for competitive mates,” the authors must make their case for why an aggressiveness hypothesis can better account for women’s attraction to feminized faces than the trade-off hypothesis. And yet—men evolved masculine faces. Explaining women’s preferences for femininity cannot be the complete story, because they cannot explain selection for masculinity. This, of course, lends support for an aggressiveness hypothesis, which parsimoniously explains the existence of the trait as well as women’s aversion to it. Women’s preferences for facial femininity suggest that contest competition and female choice do not necessarily select for the same traits. Different sexual selection mechanisms indeed select for different kinds of traits, and can result in sexual selection for a variety of traits that are unattractive. Attractiveness research on secondary sexual traits should then begin not by explaining preferences, but by explaining the trait. To best understand when and why women find a secondary sexual trait attractive, we ought first to understand what the trait is for—because it may not be for attracting women. Accordingly, discovering which sexual selection mechanisms are responsible for men’s and women’s secondary sexual traits is of paramount importance for future research on sexual selection in humans (e.g., Puts 2010). This perspective predicts that if facial masculinity was selected for use in contest competition, women should find masculine mates attractive in contexts where contest competition predicts benefits to women, and either ignore it or find femininity attractive where women do not benefit from contest competition—and initial research suggests support for this hypothesis (Scott, Pound, Stephen, Clark, & Penton-Voak 2010; Snyder, Fessler, Tiokhin, Frederick, Lee, & Navarrete 2011; Stone 2011). The reflection prompted by this review presents an opportunity to clarify our questions— including explaining the trait before we explain preferences for it.

Mute speech: literature, critical theory, and politics

Jacques Ranci re has continually unsettled political discourse, particularly through his questioning of aesthetic distributions of the sensible, which configure the limits of what can be seen and said. Widely recognized as a seminal work in Ranci re's corpus, the translation of which is long overdue, Mute Speech is an intellectual tour de force proposing a new framework for thinking about the history of art and literature. Ranci re argues that our current notion of literature is a relatively recent creation, having first appeared in the wake of the French Revolution and with the rise of Romanticism. In its rejection of the system of representational hierarchies that had constituted belles-letters, literature is founded upon a radical equivalence in which all things are possible expressions of the life of a people. With an analysis reaching back to Plato, Aristotle, the German Romantics, Vico, and Cervantes and concluding with brilliant readings of Flaubert, Mallarm , and Proust, Ranci re demonstrates the uncontrollable democratic impulse lying at the heart of literature's still-vital capacity for reinvention.

SOBREVIVÊNCIAS PESSOANAS: ENRIQUE VILA-MATAS LENDO O BARÃO DE TEIVE

Where to find Fernando Pessoa in the contemporary literature? Is there a place for him? This essay tracks answers on Spanish writer Enrique Vila-Matas’ fiction, specifically in the rescue that he does of a semi-heteronym of Pessoa: Baron of Teive. Bartleby & companhia, novel made of fragmentary commentaries about writers that abandoned literature (the “artists of No”), incorporates the heteronimic game of Pessoa and updates issues such as the emptiness of I in the speech and the struggle between silence and language that takes place in the heart of literature. The hypothesis is that Pessoa, represented by his semi-heteronym, survives on anachronical key on Vila-Matas’ reading, giving retrospective meaning to gaps of the literary history, especially on early twentieth century vanguards.

Pinpoint of Eternity: European Literature in Search of the All-Encompassing Moment

Studies the occurrence of 'pinpoints of eternity') or certain kinds of intensely experienced moments) in a number of key works of literature such as Dante's Divine Comedy, Goethe's Faust and Thomas Mann's Doctor Faustus. The literary quest for the timeless moment in literature is a paradox that lies at the very heart of literature and this work assesses the poet's struggle against impossible odds to make his creation concrete and particular as well as of universal significance. Co-published with McMaster University

Teaching the Heart of Literature

Teaching the Heart of Literature