Literary Aspects Research Articles

Un episodio de Javier Marías: la espada de Tupra en Tu rostro mañana

Concerning an episode of Javier Marias’ Tu rostro manana an influence of Cervantes has been suggested. Here we discuss this proposal in depth: the origin of the episode is explained in Marias’s own text. And, at the same time, we review other literary aspects of the author, and especially of that work, related to the subject under discussion.

Misoginia, o mal do homem: postulados filosóficos e literários do mundo antigo e do seu legado medieval

This work examines some of the most significant philosophical and literary postulates which can be considered as fundamental to the formation of the misogynous tradition in the culture, mentality and literature of Western Europe. Predominantly belonging to the field of philosophy, nevertheless, some of these postulates are in works which distinguish themselves not only due to their philosophical perspective but also because of the formal and stylistic treatment which characterizes the esthetic and literary aspect of such works. One of them are Aristotle’s studies about the woman physiology, where he reduced her role in the procreation to that of prime matter awaiting the forming and moving agency of the male semen. This Aristotelian consideration certainly substantiated an unpleasing equation between woman and matter, which found support in the religious thinking of the Middle Ages. In a comparative and critical manner, the work points out and discusses basilar ideas of the European misogynous tradition by means of a selection and quotation from authors of the ancient world and from medieval religious writing.

The Significance of The Historical Change of the Literary Aspect for ‘Admiral Lee Soonshin’

The Significance of The Historical Change of the Literary Aspect for ‘Admiral Lee Soonshin’

The Literary Kierkegaard by Eric Ziolkowski (review)

Reviewed by: The Literary Kierkegaard by Eric Ziolkowski Julie K. Allen Eric Ziolkowski. The Literary Kierkegaard Evanston, IL: Northwestern UP, 2011. xi–xx + 423 pages. The claim by Edward Mooney on the back cover of The Literary Kierkegaard that “nothing like this book now exists” requires a caveat—this study is in fact very similar in orientation and approach to the multivolume Kierkegaard Research: Sources, Reception and Resources series, which exhaustively catalogues and investigates various authors’ influence on Søren Kierkegaard, his use of their texts, characters, and ideas, and the reception of Kierkegaard’s works across the globe. Eric Ziolkowski’s book is nonetheless a very useful, insightful, and relatively compact survey of thematic and hermeneutic connections and parallels between Kierkegaard and several important authors. Using Kierkegaard’s description of himself as a “literary weed” as a point of departure, Ziolkowski enters the longstanding debate over the nature of Kierkegaard’s work in order to reaffirm “the essentially literary as opposed to strictly theological or philosophical nature of [Kierkegaard’s] writings” (4). While this is not a novel argument, Ziolkowski defends his position with erudition and nuanced argumentation, demonstrating keen awareness of the complexity of Kierkegaard’s authorial strategies and adeptly illustrating the “limitless complexity of the literary Kierkegaard” (257). The overarching aim of the book seems to be to demonstrate the inextricability of the often-competing religious and literary aspects of Kierkegaard’s œuvre. The Literary Kierkegaard contains five chapters that explore particular textual relationships between Kierkegaard and Aristophanes, Wolfram von Eschenbach, Cervantes, Shakespeare, and Carlyle, bracketed by a self-contained introduction and conclusion. The case studies fall into two categories: genealogical analyses of how Kierkegaard’s work builds on and refashions the ideas [End Page 1260] of authors whose work he read and quoted (Aristophanes, Cervantes, and Shakespeare), and analogical analyses that compare Kierkegaard’s work to that of authors with whose work he was not familiar but who share some of his existential concerns. The book proceeds chronologically, which helps to smooth over some of the sense of disjunction that can result from the repeated shifts between these two treatments of the material. Although the density of the text and its webs of allusions may be daunting to the uninitiated, the book is intended to help readers “to survey, to probe, and to interpret . . . and to decipher and to decode wherever necessary, the linkages between [Kierkegaard’s] writings and those of other literary masters” (4). Ziolkowski initially frames his investigation in terms of Kierkegaard’s relationship as a Christian thinker to the aesthetic with the provocative question: “How could a Christian, a true Christian in the full Kierkegaardian sense of a person radically engaged in a life of religious resignation, suffering, guilt, repentance, and faith, be enamored of aesthetics, a branch of philosophy focused upon beauty and the beautiful, especially as they become manifest in poetry and the fine arts?” (5) To answer this question, Ziolkowski traces the emergence of aesthetics as an independent field of study, from Baumgarten’s use of the term “aesthetics” in the late eighteenth century to “designate the rationalist-philosophical study of poetry and art as a systematic science sui generis” and Catholic and Protestant writers’ use of it to describe an attitude which they “find to be frivolous, merely curious and self-indulgent” through Hegel and the German Romantics to Kierkegaard’s adaption of the term to designate the “existential stage of immediacy and reflection” (8). The second task of the introduction is to establish Kierkegaard’s self-identification as a poet and prose stylist, including the autonomous order of the texts created by his pseudonyms. Ziolkowski documents Kierkegaard’s experimentation with different literary genres as evidence of his literary orientation and interprets Kierkegaard’s self-description as a “literary weed” as a prognostication of his later role as a “gadfly” in his attacks on the Danish church. Ziolkowski’s primary evidence for the characterization of Kierkegaard as a literary writer derives from his depiction of Kierkegaard as a prolific and wide-ranging reader who incorporates, transforms, challenges, and responds to the texts he reads within his own texts: “The literary Kierkegaard examined in the present study exists largely in...

The new urban enclosures

The ongoing crisis of global capitalism has served only to intensify the past four decades of neoliberal restructuring of cities across the world. In this paper I critically reflect on a literary aspect of the neoliberalising city academic discourse that is too often left untheorised or underplayed—the prevalence of contemporary urban enclosure. My aim is twofold: to synthesise theories of old and new enclosure with more familiar understandings of neoliberal urban processes; and to then apply this framework to the British housing experience of the past four decades. In doing so, I argue that enclosure is not only a metaphor for contemporary urban policy and processes but also provides an explanation for what is taking place. The paper concludes with some brief thoughts on how today's ‘urban commoners’ might contest the new urban enclosures by finding common cause around visions and practices of a ‘new urban commons’.

How to Read Athenaeus’ Deipnosophists

Scholarly interest in the literary aspects of Athenaeus’ Deipnosophists has increased greatly over the last decade, but little analysis proceeds from the perspective of the reader. This article seeks to redress that situation by showing how “readerly” engagement involving inter- and intratext renders Athenaeus’ text both meaningful and pleasurable to read. I analyze the text as a dramatization of acts of reading inter- and intratextually. Such reading broadly employs symbolism and symbolic language. Understanding this way of reading and its rhetoric enables modern readers to see the Deipnosophists as a literary work rather than merely a repository of knowledge.

Summer’s End and Sad Goodbyes: Children’s Picturebooks About Death and Dying

This article explores children’s picturebooks about death and grieving by considering both psychological and literary aspects. Two questions frame this analysis: How can picturebooks, particularly written for young children, support children’s grief when someone dies? How do the illustrations and text of picture books express and convey the aesthetic and emotional experience of loss? Using both psychological research on children’s grief reactions and literary analysis of picturebooks, this paper reviews picturebooks that have been published on the topic of death from 2001 to 2011 and then closely analyzes three books that span a range of topics and approaches to death. Findings indicate that children’s picturebooks convey important psychological and cultural issues through text and illustrations. Furthermore, understanding some of the psychological and literary features of children’s picturebooks that address death and grieving can help educators to provide support and understanding for children when they experience loss.

Tradução e adaptação cultural do Charing Cross Venous Ulcer Questionnaire - Brasil

CONTEXTO: A tradução e a adaptação cultural são etapas que permitirão que um instrumento criado em determinado idioma e cultura possa ser usado em outro contexto cultural. O Charing Cross Venous Ulcer Questionnaire (CCVUQ) é um questionário de qualidade de vida em portadores de úlceras venosas que para ser utilizado no Brasil é necessária a execução do processo de adaptação transcultural. OBJETIVO: Traduzir e adaptar culturalmente para a população brasileira o CCVUQ. MÉTODOS: O processo consistiu em duas traduções e duas retrotraduções realizadas por tradutores independentes, da avaliação das versões, seguida da elaboração de versão consensual e de pré-teste comentado. RESULTADOS: No processo de tradução, algumas palavras foram modificadas no seu aspecto literal. A análise posterior dos resultados do pré-teste apontou necessidades de modificações de alguns termos para melhor compreensão do respondente. O tempo médio de aplicação do questionário foi de 5 minutos e 23 segundos. CONCLUSÃO: A versão na língua portuguesa do Charing Cross Venous Ulcer Questionnaire foi traduzida e adaptada para uso na população brasileira.

As representações da malária na obra de João Guimarães Rosa

The article discusses the historical, scientific and literary aspects of malaria, with an emphasis on images of the disease in the work of the writer João Guimarães Rosa. The main reference for this study is the short story "Sarapalha," which is featured in the book entitled Sagarana. The author's medical training together with his experiences in the hinterlands of the country is the subject matter for the work, with stories of the harsh reality of life in the outback. A highlight of the story is the narrative of malaria in the language of the outback, though with absolute medical and scientific precision.

Paradise and Hell in Islam : The Literary Aspect as Represented in Risālat al-Ġufrān

Paradise and Hell in Islam : The Literary Aspect as Represented in Risālat al-Ġufrān

Kif tebbi: visions of colonial Libya in novel and film

This essay examines Mario Camerini’s award-winning silent Italian film Kif tebbi (1928) and the original source novel by Luciano Zuccoli (1923). These works have been largely neglected by Anglophone scholars yet hold an important role as precursor to 1930s fascist colonial film culture. Set in North Africa, the story pays tribute to Italy’s 1912 conquest of Libya. Its coupled themes of war and romance, desert setting, and non-European characters foster a mythic tone that also suggests a connection to French orientalist traditions. This intertextual study looks at conflicting themes in novel and film with its traces of transnational literary and filmic aspects. It also considers the overarching ethnographic component, which reveals ideas of racial and cultural difference through its projection of Africa.

Quoting Speech in Early English (review)

Reviewed by: Quoting Speech in Early English Lucy Perry Colette Moore. Quoting Speech in Early English. Cambridge: Cambridge University Press, 2011. Pp. xiii, 216. £60.00; $99.00. Colette Moore’s contribution to Cambridge University Press’s Studies in English Language series confronts the tension between the pragmatics [End Page 419] of a manuscript text and the editorial imposition of different pragmatic systems on its edited version, and so in many ways is about much more than quoting speech. Moore shows that the use of quotation marks in an edited text may conceal earlier strategies for marking speech or may result in distinctly defined speeches where an otherwise meaningful, or artful, underdetermined separation of voices exists in the manuscript version. The result of such editing of texts is, as Moore states, “a pragmatic palimpsest,” a figurative use of the term that conveys her notion that the inscription of our modern punctuation systems over preexisting strategies for marking speech is effectively to layer “modern interpretive apparatus onto pre-modern lexical content” (182), a process that ultimately alters the relationship between the text and its reader. Moore’s study is indeed firmly grounded in historical pragmatics and its dimensions are triangular, touching as it does on paleographical, linguistic, and literary aspects of texts. Through case studies, she assesses the textual apparatus on the manuscript page, provides linguistic analysis of corpus data, and brings textual analysis to a broad spectrum of genres (legal, religious, historical, and literary) in order to interpret the ways direct speech is flagged in different textual contexts. Limitations of space preclude a depth that would have given greater satisfaction, but Moore’s presentation of short case studies allows for a disciplined and perceptive overview of reported discourse in the late medieval period. She demonstrates some schemes for marking speeches, illustrates the interpretative potential of taking these strategies into account, and therefore promotes careful reading of speeches in premodern texts, by reference to textual and material contexts. Moore’s methodology is clearly laid out in the introduction, in which she discusses the editing of reported speech, with the premise that, whereas the modern convention of quotation marks is “a necessary interpretational layer,” their use alters “the pragmatic functions of a [pre-modern] text, creating a layer of mediation” (10). In the first of her central chapters, Moore describes and analyses some strategies of marking speech, beginning with the material page. Her case studies are based on samples from several manuscripts of Piers Plowman and Nicholas Love’s The Mirror of the Blessed Life of Jesus Christ, chosen for their numerous passages and different levels of reported discourse. While Moore is careful to analyze and explain scribal practice for marking reported discourse, she does not provide a key for her transcriptions, a lack that was compounded by the scarcity of images of manuscript samples against [End Page 420] which to compare her transcriptions or descriptions: just two images from manuscripts of Piers Plowman are reproduced in an appendix. While Moore identifies a number of ways that scribes could mark direct discourse to guide the reader, she notes that the apparatus is principally employed not so much to flag direct discourse per se as to draw attention to voices of authority. When she turns to the exploration of lexical marking, Moore’s study is on more secure ground. While she takes into account a variety of pragmatic markers (interjections, vocatives, deictic pronouns, tense switching, explicit quotatives), she gives special attention to repeated inquit phrases. She recasts the idea that such phrases are formulaic by arguing that the most common verbs of speaking demonstrate grammaticalization. This she illustrates through the example of seien, “to say.” Grammaticalization is defined by syntactical fixing that shifts the lexical component away from having ideational or semantic force. The search of the Corpus of Middle English Prose and Verse that Moore undertook for this section had, she admits, its limitations, dependent as it was on editorial quotation marks as indicators of direct speech. While a necessary strategy, this potentially has the drawback of excluding ambiguous discourse that may have been rendered indirect by an editor. Moore also uses corpus data from a sample of legal texts in her...

Empress Eugénie and the Arts: Politics and Visual Culture in the Nineteenth Century by Alison McQueen

book-length project to include archival and other academic references. Maza’s extensive bibliographical notes underscore her meticulous and exhaustive research (she spent a year in Paris researching in the Bibliothèque des littératures policières, the Bibliothèque de l’Ordre des Avocats, and the Archives de la Ville de Paris). The breadth of Maza’s work, which covers historical, sociological, psychological, and literary aspects of Interwar Parisian life, make this book valuable not only to historians, but also to sociologists, literary and women’s studies scholars, and the general reader looking for an enthralling murder mystery. East Carolina University Marylaura Papalas MCQUEEN, ALISON. Empress Eugénie and the Arts: Politics and Visual Culture in the Nineteenth Century. Farnham: Ashgate, 2011. ISBN 978-1-4094-0585-6. Pp. 368. $124.95. Alison McQueen’s unique approach to Empress Eugénie’s patronage of the visual arts draws heavily on primary sources, copious archival materials, to reassess the intriguing consort of Napoléon III, a Spaniard by birth and a French national by marriage. In a beautifully illustrated volume, McQueen shows how Eugénie constructs a public persona in conformity with her husband’s perceptions of an empress as pious, charitable, and concerned with social issues. As Napoléon III would have the empress define the feminine as the “ornament of the throne,” early portraits of Eugénie accentuate her beauty, sensuality, and grace. In time, by imperial decree, the empress is given jurisdiction over the charitable institutions of France, the Ministry of the Interior, and is granted admittance to the emperor’s Privy Council. McQueen collects numerous examples to attest how Eugénie is depicted in artworks as a generous benefactor to French institutions, a gracious sponsor of social programs, and a patroness of the arts. McQueen argues that Eugénie consciously honed a public persona both as a devotee of the arts, supportive of French and international artists alike, and as an informed art collector, one who chose the occasions of the yearly Salons and even public auctions to acquire art. The empress regularly loaned portions of her collection to Salons and Universal Expositions, and in 1867 organized exhibitions at Malmaison and the Trianon at Versailles. McQueen aptly chooses a later portrait of the empress by Winterhalter to grace her book’s cover, a portrait that depicts a mature and empowered Eugénie, an international public figure. However, Eugénie’s efforts to craft a public persona that marked Napoleon III’s reign ended with his defeat at Sedan in 1870. Whatever energies Eugénie expended to reach out to other nations in projects to promote the visual arts and bring glory to France, projects that included several successful ventures—the musée chinois at Fontainebleau, the gift of a sculpture received from a group of Milanese women, a monument of Christopher Columbus given to Colombia, and a sculpted ship presented by Eugénie to De Lesseps upon the opening of the Suez Canal—these triumphs could not ward off the abrupt loss of her prestige. McQueen describes with evident empathy for the empress how caricature, censured under the reign of Napoléon III, swiftly brought about the decimation of Eugénie’s imperial identity in the days following the defeat of Napoléon III’s army. Later, as Napoléon III’s widow living in exile in England, Eugénie regularly 202 FRENCH REVIEW 86.1 received Bonapartists and international figures into her home, a veritable treasure trove, where she lived surrounded by artworks salvaged from her collection, memories of Napoléon I, Napoléon III, and her son, the prince imperial. McQueen’s narrative places particular emphasis on Eugenie’s firm resolve to design a suitable site of memory to the glory of Napoléon III, Saint Michael’s Abbey in England. The author’s style conveys affection for an empress obliged to work with, politicize with, and socialize with men who embraced nineteenth-century gendered attitudes about her role. To counter their opinion, Eugénie sought out opportunities to surround herself with a powerful female attendance. The presence of her dames d’honneur at court and the oval portraits of aristocratic female sitters in...

Rabbi Samson Raphael Hirsch as a Peshat Commentator: Literary Aspects of His Commentary on the Pentateuch

Abstract The heart of Samson Raphael Hirsch’s literary corpus is his great commentary on the Pentateuch. In the commentary’s heyday, the German Jewish communities treated it with the reverence traditionally accorded Rashi on the Torah, and it was always to be found on the desks of both scholars and laypersons. Although the vast literature on Hirsch focuses on his life and his doctrine of Torah im Derech Eretz, much has been written about various aspects of the commentary on the Pentateuch, including Hirsch’s approach to the reasons for the precepts, his etymological method, his attitude toward the modern world, his treatment of the patriarchs’ transgressions, and his method as a translator. In addition to these interests, Hirsch’s commentary on the Pentateuch is marked by a fine and well-developed literary sensitivity that comes to the fore in many places. Not only has this not been studied in detail; it is never even mentioned in the various introductions to and studies of Hirsch. It must be acknowledged that the literary elements of Hirsch’s commentary are heavily outnumbered by what can be defined as derash. Still, the extensive attention to other facets of his personality and exegesis has led to the total neglect of the literary aspects of Hirsch’s commentaries and has overshadowed his aesthetic and literary sensitivity. Thus there is good reason for examining this aspect of his work—and that is the goal of the present article. I focus on four literary phenomena that Hirsch addresses systematically: multiple points of view; the designations applied to biblical characters; the phenomenon of consecutive statements; and word order.

Reading Mahler: German Culture and Jewish Identity in Fin-de-Siècle Vienna

Reviewed by: Reading Mahler: German Culture and Jewish Identity in Fin-de-Siècle Vienna James L. Zychowicz Reading Mahler: German Culture and Jewish Identity in Fin-de-Siècle Vienna. By Carl Niekerk. Rochester, NY: Camden House, 2010. x + 312 pages. $75.00. A century after the composer's death in 1911, Gustav Mahler has become an iconic figure in modern culture through his influential work as an innovative conductor and his enduring legacy of songs and symphonies. Modern approaches to Mahler often derive from the groundbreaking study by Theodor Adorno, Mahler. Eine musikalische Physiognomik (1960), which departs from the conventional life-and-works approach (predictably divided into early, middle, and late), to pursue instead a topical investigation that focuses on themes in the composer's oeuvre, such as narrative, fanfares, and other elements that convey musico-semiotic interpretations. While such a thematic approach is behind Reading Mahler by Carl Niekerk with its stated focus on Mahler's "interest in and use of literature, philosophy, and the visual arts" (1), the present study is problematic because of the idiosyncratic stances expressed throughout. Yet that does not detract from the need for a study focused on both the texts that inspired Mahler's vocal music, and also the literature the composer actively read. The composer's songs are based on three primary sources: the early nineteenth-century anthology Des Knaben Wunderhorn, selected verse by Friedrich Rückert, and the Chinese-inspired poetry of Hans Bethge; with Mahler's symphonic music including the setting of a text from Nietzsche's Also sprach Zarathustra (in the Third Symphony) and, in the Eighth Symphony, the Latin hymn text "Veni, creator spiritus" along with the final scene from the second part of Goethe's Faust. Mahler's music is not limited to those literary models, but involves references to Jean Paul through the designation of the First Symphony as "Titan" and to E.T.A. Hoffmann, whose musical writings fascinated the composer and which inspired connections in Mahler's music with his audiences. From this perspective, a survey of the literary aspects of Mahler's music may parallel an overview of nineteenth-century literature. Mahler's reading also emerges in the documented conversations with his confidante Natalie Bauer-Lechner, his widow Alma Mahler, and in other reminiscences. As such, Mahler study would be served well by a literary companion to supplement studies focused on music, as Niekerk promises later in his introduction. At some point, though, the present study goes beyond such a literary companion to include, as stated in the subtitle, "German Culture and Jewish Identity in Fin-de-Siècle Vienna," the latter limiting the scope of the investigation to a locus that was Mahler's home during the decade he led the Vienna Hofoper. (Such a companion would work well, especially if organized encyclopedically.) Rather, the volume contains a series of specialized essays. Niekerk specifically discusses Mahler's music in six chapters, which are divided into two sections. The first section, entitled "The Crisis of German Culture," contains three essays, "Titan: Symphony of an Anti-Hero," "Des Knaben Wunderhorn: Rediscovering the 'Volk'," and "Nietzsche and the Crisis of German Culture." In these three essays, the author essentially reviews Mahler's works through his Fourth Symphony. The second section is entitled "German Culture and Its Others," with chapters concerning "Rembrandt and the Margins of German Culture," "Goethe against German Culture" and "The Two Faces of German Orientalism." The second part mainly concerns the Seventh and Eighth Symphonies, along with the symphonic song cycle Das Lied von der Erde, with references to other works throughout. [End Page 140] Mahler's artistic legacy is primarily musical, and while an investigation with a literary focus is important, it is difficult to account for Niekerk taking issue in his introduction with the idea that "[t]he assumption, implicit or explicit, is often that Mahler's interest in literature and culture merely mirrors his musical preferences" (1). This statement is sufficiently intriguing to merit explication by either citing the composer's statements about personal musical choices or the evidence for this that could be inferred from the repertoire he conducted, the latter qualified by an understanding of...

Aspectos literarios del Ad Florum de Juliano de Eclana

The article deals with the literary aspects of the six remainig books of Julian of Eclanum’s Ad Florum, to underline how Saint Augustine, became more critic of the classical cultural patterns because of his progressive reflection on Christian Faith, while Julian was still tied to the old cultural patterns.

Does Copyright Protection Under the EU Software Directive Extend to Computer Program Behaviour, Languages and Interfaces?

This article argues that competition and innovation in the software industry in the EU will be seriously undermined if the Court of Justice of the European Union in SAS Institute, Inc. v. World Programming Ltd. holds that copyright protection for computer programs extends to the functional behaviour of computer programs, to programming languages, and to data formats and data interfaces essential for achieving interoperability. This article explains why the text and legislative history of the EU Software Directive, in line with international treaty provisions, should be understood as providing protection for the literary aspects of programs, but not to functionality, languages, and data interfaces. Copyright has an important, but limited, role to play in protecting program innovations, especially in view of the increased availability of patents for functional aspects of software.

What is a Propertian Poem?

With the publication of Heyworth’s new OCT, the long-standing debates about the nature of the Propertian text have been renewed. I seek to interrogate the logic and assumptions under which this debate proceeds. My argument is that every time a judgment is made about where a poem begins or ends or whether one textual variant is to be preferred to another, “literary aspects of interpretation” (Heyworth) are unavoidable. The task of determining the text, I contend, is always interpretive and always involves judgments about what the nature of a Propertian poem should be. I illustrate my position by examining both the explicit statements of recent editors and critics and the assumptions behind their editorial decisions, with special reference to the opening of Propertius 4.4. I demonstrate four things. First, that the ancient evidence Butrica, Hubbard, Heyworth, and others cite as a warrant for the production of large-scale conjectures and transpositions is, in fact, thin on the ground, subject to more than one interpretation, and not able in and of itself to authorize specific textual corrections. Second, concepts like “elegance,” “polish,” and “nature,” without detailed and specific aesthetic argumentation, are far from self-evident or universally agreed upon and cannot in themselves be appealed to as the basis for one correction or another. Third, what lies behind the textual choices we make are specific assumptions about the nature of Propertian poetry and about poetry in general. More fundamentally, what lies behind the textual choices we make, and that goes for everyone from the most radical editor to the most conservative, are specific assumptions about what the ontology of a poetic text is and how we conceive of its relation, or lack thereof, to the authorial subject. So long as we fail to be explicit about those assumptions, our arguments will ultimately be appeals to “common sense” and “intuition” and will not be capable of rational resolution. Fourth, there is nothing impossible or irrational about reading the vulgate in poems such as 4.4, and it requires you to make very few extra-textual assumptions. In the end, I argue, we are not faced with a choice between a self-transparent, centered, rational intending subject and an arbitrary or unreadable text. This is a false dilemma dictated by an assumed and, I would contend, indefensible humanist ontology. Indeed, the assumption of the first is a separate, often unargued and hence ideological postulate upon which the status of the second need in no way depend.

‘Why, why did you have me treated?’: the psychotic experience in a literary narrative

In this paper, the authors suggest an approach that may be helpful in teaching medical humanities to medical students. In the context of an honours class on medicine and literature,...

The literary aspects and historic meaning of American travel Gasa <Haeuga>

The literary aspects and historic meaning of American travel Gasa <Haeuga>