Literary Art Form Research Articles

Theorizing "Exercise Book" Through the Perspectives of Three Translation Theorists Jakobson, Derrida and Benjamin

A noble translator uncovers a text for the target language readers. An amateur translator, on the other hand, may destroy the prospect, beauty, and liveliness of the text. Therefore, while translating a text, a translator has to turn on his/her utmost possible creative aptitude along with a fanciful imagination of linguistic ability in context. The text “Exercise Book” is a short story, the translation of “Khata”, extracted from the collection of Rabindranath Tagore's short stories titled Rabindranath Tagore: Selected Short Stories, translated by William Radice. This analysis attempts to explore the emotional narrative and discovers if it interprets the subjectivity of Uma’s feelings and thoughts depicted in the short story “Khata” relatively. In addition, this paper is an exertion to understand and scrutinize which category of the translation does this story follow, while translating a text whether it is a sense-for-sense translation or word-for-word translation and whether it is a literary art form or not. For theorizing the translated short story three translation theories by Jakobson, Derrida and Benjamin have been reconnoitered in the paper. Keywords: Translator, creative, sense-for-sense, word-for-word, art, translation

Theorizing "Exercise Book" Through the Perspectives of Three Translation Theorists Jakobson, Derrida and Benjamin

A noble translator uncovers a text for the target language readers. An amateur translator, on the other hand, may destroy the prospect, beauty, and liveliness of the text. Therefore, while translating a text, a translator has to turn on his/her utmost possible creative aptitude along with a fanciful imagination of linguistic ability in context. The text “Exercise Book” is a short story, the translation of “Khata”, extracted from the collection of Rabindranath Tagore's short stories titled Rabindranath Tagore: Selected Short Stories, translated by William Radice. This analysis attempts to explore the emotional narrative and discovers if it interprets the subjectivity of Uma’s feelings and thoughts depicted in the short story “Khata” relatively. In addition, this paper is an exertion to understand and scrutinize which category of the translation does this story follow, while translating a text whether it is a sense-for-sense translation or word-for-word translation and whether it is a literary art form or not. For theorizing the translated short story three translation theories by Jakobson, Derrida and Benjamin have been reconnoitered in the paper. Keywords: Translator, creative, sense-for-sense, word-for-word, art, translation

Theorizing "Exercise Book" Through the Perspectives of Three Translation Theorists Jakobson, Derrida and Benjamin

A noble translator uncovers a text for the target language readers. An amateur translator, on the other hand, may destroy the prospect, beauty, and liveliness of the text. Therefore, while translating a text, a translator has to turn on his/her utmost possible creative aptitude along with a fanciful imagination of linguistic ability in context. The text “Exercise Book” is a short story, the translation of “Khata”, extracted from the collection of Rabindranath Tagore's short stories titled Rabindranath Tagore: Selected Short Stories, translated by William Radice. This analysis attempts to explore the emotional narrative and discovers if it interprets the subjectivity of Uma’s feelings and thoughts depicted in the short story “Khata” relatively. In addition, this paper is an exertion to understand and scrutinize which category of the translation does this story follow, while translating a text whether it is a sense-for-sense translation or word-for-word translation and whether it is a literary art form or not. For theorizing the translated short story three translation theories by Jakobson, Derrida and Benjamin have been reconnoitered in the paper. Keywords: Translator, creative, sense-for-sense, word-for-word, art, translation

Effects of Prior Knowledge and Peer Assessment on the Quality of English as a Foreign Language Poetry Writing

Poetry, being a distinct literary art form, fosters meaningful literacy, but few studies focus on enhancing its writing quality. Using a 2 × 2 between-subject design, this study explored the effects of prior knowledge and peer assessment on the quality of English as a foreign language poetry writing. A total of 81 English majors participated in a 7-week online poetry writing task, generating 567 poems on seven themes. Literary experts evaluated the poems across seven aspects. Results revealed that peer assessment enhanced general writing quality, specifically for participants with high prior knowledge. Prior knowledge negatively influenced personal voice and organization, with the low prior knowledge group showing a stronger focus on personal expressions and the flow of the poem. Peer assessment positively influenced the use of poetry schemes, with the assessed group demonstrating better utilization compared to the non-assessed group. The findings guide teaching poetic knowledge, encourage communication among students, and ultimately improve the quality of L2 poetry writing.

'Yang Indah-Indah', Bahasa dan Ideologi dalam Pantun Perbahasan Parlimen Ke-14

As the oldest Malay literary art form, Pantun aspires to the creation of ‘yang indah-indah’. In addition to the harmonious musical elements, vivid alternate rhymes that are both perceived, the beauty of a Pantun lies in its ability to convey deductive meanings using solid and transcendental allegory. For this reason, politicians are inclined to make use of this art form as a discursive strategy in political discussions despite its brevity due to its accurate, concise, and captivating quality and its deep effect on readers. Consequently, discourse Pantun becomes one of the important sources of explanation of the phenomena of language and power that take place in political discourse. Therefore, this study aims to elucidate the relationship between language and power that exist in Pantun forms, as well as to analyse the principles that support the aesthetics of Pantun recited in the Fourteenth Parliament of Senate Assembly’s Hansard text. Van Djik’s Ideological Square Scheme within the Critical Discourse Analysis is applied, along with Muhammad Haji Salleh’s literary theory Puitika Sastera Melayu (PSM). In short, in addition to its procedural function, it was found that poetry plays an important role in generating binary polarization through various discursive strategy such as Evidentiality, Self-Glorification, Victimisation, Burden, Lexicalisation, Illustration, Argumentation, Generalisasion and Metaphore. The selection of Pantun in this study dynamically and relatively fulfilled all six principles of ‘yang indah-indah’ of PSM theory.

Evolution, Two Darwins, and the Gestalt Imagining of Edward Lear

Abstract: Edward Lear was in the vanguard of cultural assimilation of evolutionary theory. In what amounts to a gestalt relationship, some of his published "nonsense" figures against, and largely derives its meaning from, innovation in the natural sciences. Certain of his works, some not previously interpreted, are specific in their engagement with evolutionists, including Erasmus and Charles Darwin, Étienne Geoffroy Saint-Hilaire, and Robert Grant. Before and after the appearance of On the Origin of Species (1859), Lear backs one side against another in public debates sparked by evolutionary theory. His implicit engagement with the new biology becomes evident in close attention to the drawings, which are essential components of Lear's innovative hybridization of visual and literary artforms.

Evolution, Two Darwins, and the Gestalt Imagining of Edward Lear

Abstract: Edward Lear was in the vanguard of cultural assimilation of evolutionary theory. In what amounts to a gestalt relationship, some of his published "nonsense" figures against, and largely derives its meaning from, innovation in the natural sciences. Certain of his works, some not previously interpreted, are specific in their engagement with evolutionists, including Erasmus and Charles Darwin, Étienne Geoffroy Saint-Hilaire, and Robert Grant. Before and after the appearance of On the Origin of Species (1859), Lear backs one side against another in public debates sparked by evolutionary theory. His implicit engagement with the new biology becomes evident in close attention to the drawings, which are essential components of Lear's innovative hybridization of visual and literary artforms.

Rediscovering the Value of Philippine Mythology for Philippine Schools: Literature Review

The Philippines is one of the countries rich in culture, characterized by different literary art forms, such as indigenous rituals and folk narratives that are passed on to future generations. However, although there have been recurring studies about these literary pieces, some narratives and fields of literary studies are being neglected, such as Philippine Mythology. Yet, the preservation and recognition of Philippine myths may be resolved through the copious integration of these myths into the academe. In this article, the author introduced the state of literature, mainly folk narratives, in Philippine schools and the nature of myths, including the different mythological creatures present in them. There are many discussions concerning the appreciation of these texts from different articles and studies from prominent authors, yet reliving these myths remains not progressive. Schools are one of the most accessible yet trusted sources of facts and important learning, which also are home for young generations who are supposed to be heirs of these value-laden artifacts.

Clackamas Chinook Performance Art: Verse Form Interpretations by Victoria Howard (review)

Reviewed by: Clackamas Chinook Performance Art: Verse Form Interpretations by Victoria Howard David G. Lewis (bio) Clackamas Chinook Performance Art: Verse Form Interpretations by Victoria Howard, transcription by Melville Jacobs, edited by Catharine Mason University of Nebraska Press, 2021 TRIBAL SCHOLARS SEEKING TO study and recover their language today require a significant knowledge of anthropology and linguistics. Anthropologists and other scholars in the earliest years of tribal studies did not make this task easy, depositing research records in exclusive archives in faraway places that are nearly unreachable by tribal people. In addition, anthropological notation was and is quite difficult to decipher. Today, researchers work to make early anthropological research available to tribal and other scholars, which aids numerous projects to revive, restore, and recover tribal languages. Clackamas Chinook Performance Art, produced by Catharine Mason, fits within this more progressive latter philosophy. Mason has deftly produced an approachable text of Clackamas Chinook oral histories that makes sense of the complex linguistics of the original Melville Jacobs notations. Melville Jacobs, an anthropologist with the University of Washington, had a notable career working with tribes in Oregon and finding key speakers of the remaining tribal languages to help collect and decipher thousands of pages of oral histories. The Jacobs Collection was kept by the university for almost fifty years, however, allowing only privileged access, which did not at all help tribes or tribal scholars. Mason and her many contemporaries have now accessed the collection and are producing accessible texts that tribal communities can easily access. The first similar project in recent memory was Henry Zenk's My Life by Louis Kenoyer: Reminiscences of a Grand Ronde Reservation Childhood (2017). In this work, Zenk and Jedd Schrock translated thousands of untranslated pages of Tualatin Kalapuyan oral histories and produced a text of the life story of Kenoyer. Mason similarly has reinterpreted numerous Clackamas oral histories previously translated by Jacobs in Clackamas Chinook Texts and other manuscripts, a corpus that was reanalyzed by Dell Hymes and other scholars. Mason listened to descendants of Victoria Howard and to the wishes of the Grand Ronde Tribe and did not include myth texts, which were of a sensitive nature, rather focusing on mainly oral histories of more recent events. The rule that Mason chose to follow is in response to generations of critiques [End Page 142] by tribes that their most sensitive oral histories have been collected, misinterpreted, and misused by generations of scholars. Many scholars working on oral histories did not listen to or ask tribes about the meaning of their oral histories and created their own interpretations. They did so at a time when tribes were working to recover from debilitating American colonization and assimilation agendas. In this early period, few tribal scholars had a chance to work to recover their oral histories, and yet interpretations were being produced regardless. But as Mason points out, scholars must work with tribes to understand oral histories because tribes understand their culture most completely, and such studies will aid Tribes and Native scholars who are working on cultural recovery. Mason's interpretative framework follows that of her college mentor, Dell Hymes. Hymes practiced verse form patterning, suggesting that oral histories produced by a master storyteller are a true literary art form. Mason identifies Victoria Howard as a master storyteller and notes that Howard voiced the texts in a true artistic literary style through performance and was able to deftly adapt her style to the needs of Jacobs when eliciting the texts. Mason notes that Hymes identified the grouping of the text units in threes and fives, suggesting again a truly unique Native literary presentation style that may be present in other texts not yet studied. Most of the texts—some twenty-six oral histories—appear with little critical analysis, besides short introductions. The style presented is clean and easy to read with line numbering. Both the Clackamas Chinook, mixed with occasional Chinuk Wawa words, and an English translation are presented for each story. For Clackamas learners the format of presentation may limit learning because each oral history is presented in uninterrupted fashion over several pages. A preferable format would be with Clackamas on the recto page and English on...

Ezekiel as a Surrealist Author: 20th Century Art as a Key to a 6th Century BC Prophet

ABSTRACT In Ezekiel’s extensive vision reports, reality is combined with the supra-mundane world in a way which resembles modern surrealism, especially as a literary art form. The comparison with surrealism helps to get a better understanding of the visions. The combination of realistic and surrealistic images has a shocking affect and revolutionizes human understanding and experience. In this way, the audience is challenged to remodel its understanding of reality.

Translation of Literature as a Tool to Enrich Target Language Literature

Translation of literature is the translation of literary art forms such as poetry, novels, dramas, short stories, films etc. The mainstream critiques of translation looked down upon the translation of literature. Translation of literature is often considered as artificial. However, on the bright side, translation of literature can be seen as a positive phenomenon. It is not just a mechanical task; rather it is a process of new creation. Translation of literature is a work of art. A skilled translator is a gem, who can add many new aspects to the translated literature. This article analyses the translation of Arabic poem and the translation of the story of Ali Baba and forty thieves to explain that the translation of literature is a tool to enrich target language literature.

Modernism and Close Reading ed. by David James

Reviewed by: Modernism and Close Reading ed. by David James Daniel T. O'Hara (bio) modernism and close reading David James, ed. Oxford University Press https://global.oup.com/academic/product/modernism-and-close-reading-9780198749967?q=modernism%20and%20close%20reading&lang=en&cc=us 272 pages; Cloth $77.00 This collection of eleven essays by distinguished scholar-critics is skillfully edited and helpfully introduced by its editor David James, an expert in the new modernist studies, among several other sub-fields in literary and cultural studies. The question the collection raises is whether or not we know what close reading is, has been, or may be in the future. The volume is divided into two parts, the first of which presents different historical case studies of what close reading has been seen to be and whether and how if needed those perspectives should be revised. The second part presents potential futures for close reading of modernism as close reading combines with other kinds of critical approaches, including queer surrealism, stylistic analysis, feminist sexual ethics, hedonic perspectives on contemporary revisions of modernist [End Page 51] novels, cognitive studies of narrative space, and possible ecologies of critical interpretation. Max Saunders argues that rather than the usual simple picture of Richards and Empson inaugurating and perfecting British Practical Criticism and the New Critical Southern Agrarians perfecting the American close reading practice, we must revise our simple picture and incorporate more decidedly the work of Robert Graves and Laura Riding in A Survey of Modernist Poetry (1927) as well as the work, literary and editorial, of Thomas Hardy and Ford Maddox Ford. This correction of the origin of close reading allows us now to see that the possibilities inherent in it go beyond the perfection of academic exercises as encouraged by the famous and influential 1939 anthology edited by Cleanth Brooks and Robert Penn Warren, Understanding Poetry. Rather than a critical mode of complex albeit "organic" encapsulation, close reading can be better seen as an opening up of texts to an array of critical responses that are yet still close readings. Saunders is particularly good when discussing Paul De Man's "The Dead-End of Formalist Criticism" in which Empson's seventh type of ambiguity explodes the would-be infinite multiplicity of perspectives supposedly contained by the "organic" form of the text as the perspectives do not simply oppose but contradict one another. This critical slant on close reading gets repeated and enriched throughout the first part of the volume as Peter Howarth plumbs more specifically and comparatively the ground-breaking work of Richards and Empson, Graves and Riding, as reading performances every bit as literary as what they read. Rachel Sagner Buurma and Laura Heffernan do the same for the second generation of closer readers, as explication becomes the name for close reading during and after WWII in America and Britain. Joseph Brooker demonstrates how Hugh Kenner's fast-paced flickering aperçus when reading Joyce and Fritz Senn's slow revelations of this author not only argue for close reading as its own literary art-form or performance but also for including the theory-based new schools soon to emerge across the critical world. Finally, the first part of the collection ends with Jean-Michel Rabaté's close reading of Derrida's critical reading of Foucault in the latter's History of Madness, and Foucault's belated response to Derrida, in which not only can Rabaté find Derrida's case against Foucault to be reinforced but more surprisingly, perhaps, there is new evidence for how Derrida misread Freud on the death-drive [End Page 52] in the course of The Postcard. "[Derrida] bypass[es] the fact that the pages he has quoted state a thesis that Freud rejects explicitly. Indeed … he turns around and exclaims: 'It cannot be so.'" In this nuanced manner, "When Did Close Reading Acquire a Bad Name?" is the highlight of the first part of this collection, and concludes with a brilliant critique, careful, astute, discriminating, of Badiou's reading of Beckett. What Rabaté makes visible is what Paul de Man too often just claimed is the blindness and insight structure of critical or revisionary reading that...

Lit Trends: Quarantine Innovations

Notebook lit trends Quarantine Innovations by Olivia McCourry DURING A CRISIS, books provide solace and hope, offering comfort in the literary world. Even as we were held apart by shelter-at-home orders, books brought us together. The Covid-19 pandemic limited in-person access to bookstores and libraries around the world. In these times of uncertainty , many literary organizations took it upon themselves to provide literary content to readers without having to go outside. Through author interviews, readings, and writing workshops, the community stayed alive virtually. With the use of social-media platforms and other online formats, the following organizations helped keep open the gateway to the literary world. LITERARY HUB This online platform for the literary community offers virtual content through a new platform, the Virtual Book Channel. The motive of this innovation is to provide those stuck in quarantine with original programs and interviews. Author interviews include the “Shelter in Place” series, which includes discussions about authors’ time in quarantine and how writers cope with writing in the current climate. Other content includes virtual book tours and virtual readings. By engaging their audience virtually, Literary Hub provides a space for readers to still be involved in the literary space. The series also aids authors and publishers by emphasizing how to support the literary industry even when bookstores are closed. LITQUAKE This San Francisco–based organization, whose big festival occurs each fall, has been creating diverse virtual literary entertainment during the pandemic. Their “Litquake in Lockdown” series includes discussions, readings, and poetry. They have hosted their annual poetry celebration online and showcased author ideas on writing during the ongoing crisis. Readers are also treated to virtual book tours and performances. With this series, the goal is to bring people together through their love of reading and to inspire thought in the current political climate and the pandemic. Being online, they are serving any type of reader who needs an escape from the day-to-day life in quarantine. The broad areas of content provide an interesting new landscape for any bibliophile around the world. BUSHWICK BOOK CLUB On April 26 Bushwick Book Club hosted a Facebook live-streamed author performance and show. This one-day event included a performance from the author of Stray, Tanya Marquardt, along with musicians , artists, songwriters, and dancers. The book club, normally held live in Brooklyn venues and featuring music inspired by the book under discussion, encourages audiences to read the novel and to engage with the reading. This live-streaming event allowed those interested to escape from quarantine, discover new writing, and enjoy a literary performance. POETRY AND CHILL Based in Oklahoma City, the poetry platform Poetry and Chill hosts open-mic events and allows artists to share their talents through music, books, and creative projects. The organization has been hosting adult poetry workshops via Instagram Live every Sunday. This platform gives writers the opportunity to share their work as well as learn new poetry techniques. In a time when poetry nights and performances have been vacant, the live workshop gives writers a chance to escape and be discovered in their own homes. Poetry and Chill invites all skill levels to participate in the weekly workshops. The event means to bring people together during a time of uncertainty and to spend some time learning a literary art form. Olivia McCourry grew up in Norman, Oklahoma, and is an English junior at the University of Oklahoma. She is currently interning at World Literature Today. With interests in writing, editing, and a love of literature, Olivia hopes to pursue a career in writing and publishing. 10 WLT SUMMER 2020 ILLUSTRATION BY HAYRULLAH YORGANCI / UNITED NATIONS COVID-19 RESPONSE Read dispatches from the pandemic in our special section starting on page 55. A "thank-you, everyone" banner displayed on a balcony in Montreal, Canada, during the quarantine in early April. Features WORLDLIT.ORG 11 PHOTO: M / UNSPLASH ...

Reading Phil Watts on Les Bienveillantes

Last fall I asked Vincent Debaene to share Phil Watts's book proposal, of with me. The title of Tragedy had also been title of Phil's essay on Jonathan Littell's Les Bienveillantes included in issue of Yale French Studies devoted to Littell and Irene Nemirovsky that Phil and I had coedited in 2012. I had greatly admired Phil's essay on Les Bienveillantes and wanted to see what plans for larger project looked like. I read proposal of Tragedy with renewed sense of admiration and also one of loss, both personal and intellectual. In our last conversations, Phil and I had talked about tragedy, our shared admiration for Hannah Arendt--about whose work Phil knew much more than I--and Arendt's 1963 book, Eichmann in Jerusalem. We had in fact planned conference to commemorate fiftieth anniversary of publication of Arendt's profoundly influential and controversial work, to be held at Glasscock Humanities Center at Texas A&M this year. That conference took place this past January. I am so sorry that Phil couldn't be there. I'm sure he would have enjoyed it as much as I did. of Tragedy remarkable and important project, engaging as it does with crucial philosophical, political, and moral issues in post-Holocaust world, terribly complex subject of contemporary history and its representations, and critical questions concerning cultural appropriateness and longevity of literary genres and tragedy in particular. As Phil writes: examining ways in which literature and film turned to tragedy--or modern remnants of genre--we can better understand relations between fictional narratives and justice, politics, and history in postwar world. From standpoint of genre of tragedy alone--and its very possibility in postwar world--the issue already fraught one, and one that Phil deftly dissects. By definition or by tradition, tragedy an archaic and aristocratic form. Moreover, in postwar world, it has been tainted by its association with totalitarian regimes whose deliberate debasement of through propagandistic excess--what George Steiner refers to as stiffening of language in The Death of Tragedy--has decimated tragedy by stripping it of its true (read linguistic) power. Hence, as Phil notes, Brecht's dismissal of tragedy as an outmoded artifact. And yet historical and human need for tragedy, or tragedy reconceptualized or reconfigured, remains. It may serve as a genre whose rigors are necessary tonic for our postmodern times, as Phil quotes Terry Eagleton as stating. Or it might also be means of enhancing struggles and tragic destiny of common man. In this latter form, it becomes the art of common, figuring fate of Zola's Jacques Lantier, Flaubert's Emma Bovary, or perhaps tragic American Everyman in Arthur Miller's Death of Salesman or View from Bridge. But Phil's project on contemporary tragedy, or its remnants, at once both historically more specific and acute, and analytically more powerful, than either of these options allows. Remnants of Tragedy, Phil writes, is situated along fault line on which archaic literary form confronts modern dictatorships, potentially democratic art tied to abuse of power by state, and Europe's most constantly idealized and de-historicized literary art form confronted with Europe's legacy of violence. Implicit in this broad but succinct description whole host of compelling formal, aesthetic, historical, and theoretical questions, among them: What form, or forms, political or otherwise, can tragic agon assume? Who might tragic hero be? In what does tragic destiny consist? What historical events can be adequately and appropriately represented in tragedy? Can power of tragic be restored? Can traditional definitions or models of tragedy, from Aristotle to Hegel to A. …

De macht van satire: grenzen testen, grenzen stellen

Countering the conventional view of satire as a literary mode or literary art form per se, this article discusses it as a social phenomenon, focusing more specifically on its public impact and cultural function, and on the multivarious forms in which it has manifested itself through the ages. The recently started NWO research project The p ower of satire, cultural boundaries contested is our point of departure. In the first part of the article, we elaborate on the theoretical framework of this project by giving an in-depth description of the Anglo-American scholarly debates on (literary) satire and satire theory as they have taken place during the last fifty years. We point at several trends and we try to find out to what extent the existing theories may be useful for our own research. The second part of the article discusses two specific (Dutch) satiric cases using the theoretical notions of satire as play and satire as provocation. These cases are the so-called magic lantern periodicals from the 1780’s and the almanac-like periodical De Lantaarn of Pieter van Woensel, which was published between 1795 and 1801. The main question in this part of the article is: how can satire be playful and provocative at the same time? Our cases show that the answer involves both specific historical circumstances and broader cultural traditions of satire as a means to defame or to downplay certain targets.

The Culture of Letter-Writing in Pre-Modern Islamic Society * By ADRIAN GULLY

The secretary of the chancery and his craft, epistolary writing, are the topics of Adrian Gully's The Culture of Letter-Writing in Pre-Modern Islamic Society. His focus is on the fifth/eleventh to the ninth/fifteenth centuries. Despite the secretary's prominent position in society and the dominance of his craft as literary art form, few studies have been conducted on either the secretary or the art of letter-writing. For that reason alone Adrian Gully's study is very welcome. But there is much more. In a well-structured analysis Gully demonstrates how letter-writing became the dominant literary art form and how it remained the most popular genre for many centuries. Crucial to the success of epistolary prose were, according to Gully, the skills and professional acumen of its main supporters, the secretarial class. Who was this influential state servant and how did he fit into the intellectual stratum of Islamic society? The chancery scribe of pre-modern Islamic societies needed a long list of qualities to fulfil the requirements of his profession. He had to be well-versed in literary devices and excel in calligraphy and bayān (clarity of expression). Further he had to be trained in the epistolary protocol. He was supposed to know each and every salutation form for each and every rank of addressee in each and every type of correspondence. The Egyptian scribe al-Qalqashandī (d. 821/1418), for example, who was the author of a massive manual for secretaries entitled Ṣubḥ al-aʿshā fī ṣināʿat al-inshā (‘The Morning of the Night-Blind on the Craft of Composition’), devoted no less than 1400 pages (in modern print) to the protocol of letters of communication (The fourth maqāla of his Ṣubḥ al-aʿshā, ed. Muḥammad Ḥusayn Shams al-Dīn [Beirut, 1987], vi. 263–ix. 250).

Research Directions: A Unique Visual and Literary Art Form: Recent Research on Picturebooks

The authors consider recent research that examines characteristics of the unique visual and literary art form of picturebooks and the ways in which readers respond to these books before exploring the means by which this research informs best classroom practice.

Basho and the Dao: the Zhuangzi and the transformation of Haikai

Although haiku is well known throughout the world, few outside Japan are familiar with its precursor, haikai (comic linked verse). Fewer still are aware of the role played by the Chinese Daoist classics in turning haikai into a respected literary art form. Basho and the Dao examines the haikai poets' adaptation of Daoist classics, particularly the Zhuangzi, in the seventeenth century and the eventual transformation of haikai from frivolous verse to high poetry. The author analyzes haikai's encounter with the Zhuangzi through its intertextual relations with the works of Basho and other major haikai poets, and also the nature and characteristics of haikai that sustained the Zhuangzi's relevance to haikai poetic construction. She demonstrates how the haikai poets' interest in this Daoist work was rooted in the intersection of deconstructing and reconstructing the classical Japanese poetic tradition. Well versed in both Chinese and Japanese scholarship, Qiu explores the significance of Daoist ideas in Basho's and others' conceptions of haikai. Her method involves an extensive hermeneutic reading of haikai texts, an in-depth analysis of the connection between Chinese and Japanese poetic terminology, and a comparison of Daoist traits in both traditions. The result is a penetrating study of key ideas that have been instrumental in defining and rediscovering the poetic essence of haikai verse. Basho and the Dao adds to an increasingly vibrant area of academic inquiry - the complex literary and cultural relations between Japan and China in the early modern era. Researchers and students of East Asian literature, philosophy, and cultural criticism will find this book a valuable contribution to cross-cultural literary studies and comparative aesthetics.

The Artistic and the Literary Imagination in Australia and Beyond

This essay reflects upon the reasons for the early dominance of the painting tradition in Australia and the later blossoming of both visual and literary art forms. Artists tapped into cross-currents of feeling and opinion—at times with praise, on other occasions with a sense of an alien, forbidding nature. A literature of place, often referred to as nature writing, could only thrive when people’s hearts were with Australian places. Artists facilitated this attunement. Nature writing has now begun to take hold in Australia so offering an opportunity to look back and deeper our understanding of times marked by its absence. Today, the nowhereness of cyberspace stirs a yearning for the sense of embodiment that goes with place and home, thus providing an opportunity to understand the shaping of an Australian literary imagination and a poetic sensibility that goes beyond poetry in seeking to defend places of the heart.

Baseball and American culture: across the diamond

* About the Editor * Contributors * Preface * Acknowledgments * Section I: The American Fan * Chapter 1. A Distinct Sense of Belonging * Chapter 2. Home Base: A Survey of Backyard Baseball Diamonds * Chapter 3. On Fenway, Faith, and Fandom: A Red Sox Fan Reflects * Chapter 4. Baseball Memorabilia * Section II: Baseball Inclusivity * Chapter 5. From Jackie to Elvis, from Selma to St. Petersburg: The Desegregation of Spring Training * Chapter 6. Creating Home with the Ball Field: The Dynamics of Baseball and Civic Inclusivity for Germans, Irishmen, and Blacks During the Late Nineteenth Century * Chapter 7. The Internet and the Popularization of the Negro Leagues * Chapter 8. Baseball and Blacks: A Loss of Affinity, a Loss of Community * Chapter 9. The All-American Girls Professional Baseball League: Accomplishing Great Things in a Dangerous World * Chapter 10. Globalization of Baseball in Popular Culture * Section III: Money, Managing, and Myth * Chapter 11. Here's the Pitch: Baseball and Advertising * Chapter 12. From John McGraw to Joe Torre: Industrial Management Styles Applied Throughout the History of Major League Baseball * Chapter 13. The Hall of Fame and the American Mythology * Section IV: Baseball and the Arts * Chapter 14. Politics, Patriotism, and Baseball On-Screen * Chapter 15. Writing Their Way Home: American Writers and Baseball * Chapter 16. Baseball As a Second Language: The Impenetrability of Our National Pastime * Chapter 17. Baseball Poetry: Society's Overlooked and Underestimated Literary Art Form * Chapter 18. Eiron Men, 'You Know Me, Alazons,' and Pixies: Baseball Humor As American Humor * Section V: Baseball and Resolution of Conflict * Chapter 19. Baseball Labor Relations: Is It Safe to Go Back to the Ballpark? * Chapter 20. God and the Diamond: The Born-Again Baseball Autobiography * Chapter 21. The Winter Meetings, the King of Baseball, and the Conscience of the Game * Chapter 22. Control Problems: The Limitations of Baseball As Metaphor * Chapter 23. Boys of Summer, Suicides of Winter: An Introduction to Baseball Suicides * Index * Reference Notes Included