Poetic Word Research Articles

Oleksandr Dovzhenko: several observations about the worldview and aesthetic universals of his phenomenon against the background of the 20th century

The attention in the offered article was focused on comprehension of a large-scale complex of philosophical, moral-and-ethical, aesthetic problems connected with the activity of the Ukrainian cinematographer Oleksandr Dovzhenko, the giant of world scale of the 20th century. The axiological priorities of the genius and the social-and-historical circumstances of his existence were clarified. The diary thoughts of Dovzhenko scholar, the great Ukrainian thinker of the 20th – 21st centuries – Yevhen Sverstiuk in the understanding of this axiological paradigm played an important role. Given this context, little-known facts of the biographical discourse of O. Dovzhenko and D. Shostakovych were actualized; the immanent consonance of their modern aesthetic searching in cinematic art, colour painting and musical painting of the 20th century was marked on the basis of primary sources. The harmony of movement, coloration, sound in the poetics of artists was a large field of interest even for humanities scientists of the 21st century. Attention was paid to the moral-and-ethical estimation made by O. Dovzhenko of D. Bedny as a destroyer of the principles and embodiment of the latest world cinematic aesthetics and its creator, which appeared in the film masterpiece «Zemlia (Land)». The antagonism of ideological works of socialist realism and works of art for centuries was illustrated in the exploration on the examples of the poetic word of the Kyivan – M. Bulgakov and S. Yesenin. The consonance of the receptions of the reality of the Soviet-era period in the figurative-and-semantic axiologems of O. Mandelstam’s poetry and O. Dovzhenko’s diary notes was clarified in the comparative parallels.Devotion to aesthetic truth overcomes the delusions of the past. Analytical attention to the important semiosphere, which was the role of D. Shostakovych in revealing the truth to the world about killing of the Congress of Ukrainian Kobzars in 1935 by the Soviet authorities in the mentioned value-and-semantic context was drawn. This empathic involvement in the grief of another was the ideological basis of the phenomena of Christian self-sacrifice as O. Dovzhenko and other mentioned artists and thinkers of the analyzed time.

In Defiance of the Pandemic – The Poetic Word

In Defiance of the Pandemic – The Poetic Word

Эволюция среднеанглийских аллитерационных сочетаний в шотландской поэзии XV века: новые формы и функции

Alliterative phrases, along with traditional poetic words and substantivized epithets, are considered to be a typical feature of the diction of alliterative revival in England and Scotland, a special marker of this tradition. Formulaic alliterative phrases are quite a different phenomenon than traditional oral poetic formulas; their formulaic character is expressed in potential variation of their elements provided that the semantics and the alliteration scheme are preserved, which allows poets to create individual author variants on the basis of traditional phrases. The paper discusses the use of formulaic alliterative phrases as illustrated by two alliterative Scottish poems that were written nearly at the same time (second half of the 15th century) and belong to the same tradition, but to different genres: the romance Golagros and Gawain and the allegorical poem The Buke of the Howlat. Golagros and Gawain is a poem composed in the decline of the genre of romance, which glorifies the virtues of chivalry and the heroic world becoming a thing of the past. A characteristic feature of the poem is the extensive use of variation between the elements of set phrases typical of the tradition of alliterative revival. A large number of alliterative phrases in Golagros and Gawain are individual author variants describing an ideal chivalric hero. In The Buke of the Howlat, on the contrary, most phrases are fixed and stereotyped. The author of this poem prefers to exploit formulas as a satiric device, putting typical phrases in an unusual context and thus altering their meaning.

Poesia segundo Paul Zumthor na canção "Metal contra as nuvens", de Renato Russo

Paul Zumthor (1997; 2005; 2007) apresenta teorias e críticas acerca da poesia presente na canção. Para isso, o crítico vale-se do estudo sobre a poesia oral e passa a reconhecer que toda poesia possui, pelo menos, duas vozes que se conectam: a voz do eu poético e a voz do intérprete que executa a canção. A voz do intérprete incorpora a voz do eu poético, o que facilita a recepção da mensagem poética, já que tal prática precisa da performance que está contida na canção. Portanto, a performance figura como uma das ideias centrais do teórico, assim como ele a diferencia da pura recepção e assim como também define o que é canção. O artigo Poesia segundo Paul Zumthor na canção Metal contra as nuvens, de Renato Russo se dispõe a pensar a canção poética, usando a letra músico-poética Metal contra as nuvens (1991), do compositor e poeta Renato Russo. Além do mais, antes de adentrar nas proposições de Paul Zumthor, o artigo conta com os estudos de Octavio Paz (1982) para aclarar o que são a poesia e a palavra poética.

The Lyrical Art of Ana Cristina Cesar

Ana Cristina Cesar is one of the great poets of the 1970s and 80s in Brazil. In this paper, some of her poems are analyzed in the perspective of how her lyrical narrative presents an interactive dialogue with the reader and criticizes modernity. Ana Cristina Cesar's poetic work privileges critical-reflexive language, the theme of identity, alterity, lyrical memory, poetic synthesis, and questioning, as marks of modernity. The word-memory is the essential factor that moves the aspirations and feelings of poetic self, because at the moment of reminiscing, the self recollects, in depth, the events and experiences previously experienced. The word is a force that drives the Word Artist to realize dreams, goals, and achievements. Through the poetic word, the poem develops the continuous transmutation of language, generating new possibilities of being and effecting poetic procedures through the lyrical genres, centered in the articulations of the poetic creation. The poetic craft is essentially of creating oneself, thus poetry being also self-creation, knowledge, and transmutation.

김소월 시어의 방언에 관한 연구

김소월을 위대한 시인이라고 칭송하는 이유는, 소월 시의 주제가 한국인의 정서와 동질적이고, 시어가 전래적(고어투)이면서도 어렵지 않아 독자와 공감대를 형성하고, 운율이 한국인의 호흡과 일치하기 때문이다. 소월의 시세계는 향토적이다. 시의 소재는 주변적이고, 주제는 인간관계에서 발생하는 희노애락을 형상화한 것이다. 시의 주제가 철학적이지도 않고 사변적이지도 않아서 대중들이 소월의 시를 친숙하게 느낀다. 이와 더불어 시어로 방언을 적절하게 사용하였다. 토속적인 방언을 많이 사용하지는 않았지만, 적재적소에 배치하여 시의 미적 효과와 표현적 가치를 극대화하였다. 소월의 시에서 생동감과 리얼리티를 느낄 수 있는 이유이기도 하다. 김소월은 여타 시인에 비해 방언을 많이 사용하지는 않은 편이다. 그럼에도 불구하고 몇몇 방언은 이해하기 어려워, 선행 연구에서 뜻풀이를 제각기 다르게 하였다. 본고에서는 선행 연구에서 의미 해석에 논란이 되고 있는 시어 중에서 평북 방언(새, 바르다, 세다, 차부)과 평북 이외 북한 지역의 방언(뒤놓다, 모지르다, 호젓하다, 그늘, 솔곳이)으로 추정되는 어휘에 대해, 문맥적인 의미에 기반을 두고, 어학적 관점에서 실증적으로 분석하였다. 그 구체적 예로, 소월의 「술과밥」이라는 시를 보면, 선행 연구에서는 방언의미에 대한 이해가 부족하여 어색한 해석을 하였다. ‘밥발라’에 대해, 오하근(1995)에서는 ‘밥달라’의 오식으로 보았고, 권영민(2007)에서는 ‘밥을 벌다’로 보았다. 이러한 해석들은 문맥적 의미가 통하지 않는다. 평북 방언의 의미대로 ‘귀하다, 부족하다’로 보아야 문맥적 의미가 통한다. 술 한 합에 닷 돈이고 쌀은서 돈으로 ‘술값’이 ‘쌀값’보다 더 비싼데도, 아이러니하게 ‘술 인심’은 후하고 ‘밥 인심’은 박한 세태를 풍자하면서, ‘밥이 귀하게 될 때도 과연 그럴까’라고 탄식하는 장면으로 봐야 문맥 의미가 자연스럽게 통한다. 제한된 지면 때문에 본고에서는 소월의 방언의 의미에 대해 부분적으로 제시할 수밖에 없었다. 이러한 결과물들이 많이 모이면, 소월의 시어에 대해 체계를 완성할 수 있다. 시어의 정확한 의미를 이해하는 것은 시인의 시 세계를 이해하기 위한 첫걸음을 내딛는 것이다. 특히 방언에는 지역 토착민의 문화와 정서가 고스란히 스며 있다. 또한 그 시대의 시대상과 현장을 생생하게 묘사하고 있기에 시어의 방언 의미 연구가 더욱 가치가 있다.

TRANSLATION TRANSFORMATIONS AS A MEANS OF RENDERING ENGLISH FILM TITLES INTO UKRAINIAN

The article deals with the study of translation transformations as a means of translating English film titles into Ukrainian. The topicality of the research is determined by the fact that cinema is constantly evolving, and every year hundreds and even thousands of films are created in the world, which require adequate translation into Ukrainian as a means of acquainting Ukrainian-speaking viewers with foreign language film culture. Since a film title is the first thing the viewer encounters, and it often depends on the title whether the viewer wants to attend it, film titles need special attention during the translation process. Film titles are characterized by the concise structure and possess features that are inherent in names as independent units of language. Moreover, film titles have similar textual features to aphorisms and proverbs. Thus, a fundamentally similar translation approach is applied. The film title recreated in translation must be no less significant and vivid than the one in the source language. Therefore, the translator needs to successfully choose the method of translation. Rendering film titles in translation is also complicated by their stylistic diversity – these units include bookish vocabulary, colloquial and poetic words and combinations, titles may contain excerpts from songs, works of art, as well as proper names, realia that may be incomprehensible for the viewer belonging to another culture. Despite the fact that a significant number of English film titles can be rendered into Ukrainian by using literal translation, the study reveals that this procedure often requires the use of translation transformations – lexical (transliteration, practical transcription), lexical and semantic (differentiation, generalization, concretization, modulation), grammatical (grammatical replacements, addition, omission), and lexical and grammatical ones (antonymous translation, integral transformation). With the help of such transformations, one can move from the source language units of film titles to the units in the translation according to the linguistic level at which the differences between the source language and the target language occur, and create a film title in the target language that will interest the viewer and be directly related to the content or idea of the film itself.

O tempo e a música: uma proposta de abordagem da obra Quatro Quartetos, de T.S. Eliot

O presente artigo tem como objetivo propor uma análise da obra Quatro Quartetos, do americano T. S. Eliot, a partir de um viés alternativo: a teoria da relatividade de Albert Einstein e a música, tendo como elemento unificador a questão do tempo. Se Einstein mudou os paradigmas da física ao propor que o tempo é uma grandeza relativa, e não absoluta, o axioma de um tempo estritamente linear, presente-passado-futuro, deixou de ser ponto passivo no mundo científico e a noção de ‘viagem no tempo’ passou a ser uma possibilidade. O presente artigo estabelece uma ponte entre tal raciocínio e o poema Quatro Quartetos a partir da noção de eterno tempo presente, tão cara à voz enunciadora do poema, demonstrando que tal ideal pode ser alcançado pela palavra poética através de um estado de sinergia entre os tempos passado, presente e futuro.

Poetics of History, Logics of Collapse: On Heidegger's Hölderlin

The question of Heidegger's Nazism has been raised and reignited across the history of the philosopher's reception. Scholarly accounts of the relationship between Heidegger's philosophy and politics abound, but relatively few focus their attention on the substantial connection between Heidegger's reading of Hölderlin and the ideology that facilitated his choice to follow Nazism. Those who acknowledge this connection generally tend toward careless confusion of Heidegger's interpretation and Hölderlin's actual thought, despite ample evidence that Heidegger's reading amounts to a radical distortion of the poet's words. This essay accounts for Heidegger's misreading through the apocryphal poem “In lieblicher Bläue,” which Heidegger mistakenly attributes to Hölderlin. This is followed by a critique of Heidegger's interpretation through an exposition of Hölderlin's theory of Greek tragedy and the poetics of his late hymns. Theory and praxis alike stand opposed to Heidegger's aesthetic enterprise, and they defy any attribution of proto‐Nazism to Hölderlin himself.

Pluralidades de un diálogo trascendente: desplazamientos de la poesía mística en Colombia

Este artículo indaga la manera en que algunas voces de la poesía colombiana contemporánea han asumido distintas perspectivas del diálogo entre la experiencia mística y la palabra poética. Tras una reflexión teórica sobre la noción de mística, tanto desde sus rasgos estables como desde aquellos históricamente condicionados, el texto analiza poemas de Pablo Montoya, Jorge Cadavid, Hugo Jamioy y Judith Bautista, con la intención de proponer nuevas rutas de la poesía mística en Colombia que amplíen la visión establecida por la influencia hispánica, extendida desde la Colonia hasta inicios del siglo XX. En estos desplazamientos de la palabra poética se evidencia la vigencia atemporal de una pregunta por lo espiritual, formulada desde una pluralidad —expresiva y de contenidos—, que responde a preguntas contemporáneas, y que en algunos casos se acerca y en otros se aparta de las concepciones dominantes de la tradición mística.

செவ்விலக்கியக் கவிதைகளில் யாப்பு முறைமைகள் : தமிழ் மற்றும் அரபிக் கவிதைகளை முன்வைத்து

The Prosodical rules should be followed properly in the composition of Classical Rhymed poems/ verses in Tamil and Arabic. In both these classical languages, Tamil and Arabic; there are set of Prosodical rules. In the Prosodical elements namely syllable, poetic word pattern and stanza, we found unique similarities in both these classical poems. The aim of this article is to throw light on the similarities found in these Prosodical elements of classical Arabic and Tamil Poems.

التقوى وأثرها في الدعوة إلى الله

قمت بهذا البحث الذي هو بعنوان التقوى وأثرها في الدعوة إلى الله وقد قسمت البحث إلى مبحثين ، المبحث الأول يتحدث عن مفاهيم حول التقوى ، وتحدثت فيها عن التقوى في اللغة والاصطلاح والتقوى في القرآن الکريم ، والتقوى في السنة النبوية. المبحث الثاني يتحدث عن ليس من التقوى الغلو في العبادة وأقوال الشعراء في التقوى ، وثمرات التقوى ومن أهم التوصيات أوصي بالرجوع إلى القرآن الکريم لدراسة ومعرفة کل الآيات التي تتحدث عن التقوى. Abstract: Praise be to Allah, we praise him and seek his help and forgiveness, and seek refuge with Allah from the evils of ourselves, an our evils, and I bear witness that there is no God but Allah alone with no partner and I bear witness that Mohammed is his slave and his messenger, peace be upon him and his family and his companions and followed them until the day of religion. The researcher conducted this research, which is entitled piety and its impact in call to Allah and has divided the research into two sections the first section talks about the concepts of piety and talked about the piety in the language and terminology and piety in the Koran and piety in the prophetic sunnah. The second section talks about not piety extremism worship and the words of poets in the piety and the fruits of piety. One of the important recommendations I recommend reference to the Qoran to study and know all the verses that talk about piety. Keyword: Al Taqwa , Effect , Da'wa , God , Sunnah.

Word Image as a Cultural Sign in Language, art and Intellectual Journalism (on «Ontology of the Poetic Word Art and Ostrannenye» by M.L. Novikova)

With the development of information technology, the influence of mass-media on the active processes in the language and society is steadily increasing. In this context, the problem of forming high professional culture of journalistic community, which involves working knowledge of information culture, linguistic culture and creative potential of the native language, is essential. Unlike an artist who does not invent images, but thinks in them, a journalist uses language imagery rationally, but not only a means of persuasion aimed mainly at manipulation. Intelligent journalism uses the image as an economical tool of expressing a complex idea, especially when logical thinking is ineffective. The monograph «Ontology of the Poetic Word Art and Ostrannenye» by M.L. Novikova explores imagery as a universal creative principle that enables one to see essential things, previously unnoticed, while conceptualizing the reality. This principle of creation, which features one mechanism, but different functions, works in the language, in the Arts - in oral lore, plastic and synthetic arts, and in intellectual journalism. The book will be of great interest for journalists. It allows readers to see the mechanism of forming the imagery and evaluate and master the creative word as both a tool for constructing new meanings that de-automatize perception, and a conductor of public attitudes, the latter being a special form of peoples interaction, a conceptual space that reflects the world view of a person and society in a particular period of time.

Ціннісні орієнтири творчості Mаксима Рильського

The works of Maksym Rylsky are very significant in the history of Ukrainian literature. His name is mentioned in different encyclopedias and in the antology of the world art. Understanding of the creative heritage of Rylsky as a poet, writer, publicist, translator has found widespread echo in the studies of literary scholars, philologists, writers, critics, translation specialists, etc. The creativity of the writer reflects the ideals, aspirations, spirit of the people and the nation. The first collection On White Islands, which was written in pretty young age, stated the appearance of the strong talent. According to the researches, new books of Rylsky are the basis of his poetic “neoclassicism.” The centuries-old cultural reality for Rylsky was a constant source of poetic inspiration. He expressed his creative credo in lots of poems, the main point of which was the purity and probity of a poetic word, sincerity and honesty. However, in 1931, when Maksym Rylsky survived the arrest and pressure of the Soviet system, he had to force himself to write openly conformist works that were included in the book The Sign of Libra. The pragmatic and cruel mechanism of imperial culture suppressed the individual aesthetic sense of the artist, breaking his original worldview. However, in these difficult times for Ukrainian culture Rylsky managed to write outstanding works in which he presented the national idea, awakened the historical memory of his people, affirmed the idea of his talent, national re generation of Ukraine, the immortality of his native language. t is obvious that the poet and philosopher Maksym Rylsky was, is and will be one of the greatest Ukrainian poets of the twentieth century. He was an activist of the Franko’s format culture, which, in the event of a tragic creative defacement, was still able to move Ukrainian spirituality forward, to develop our language, our understanding of nature and the human soul.

The image of Ukraine in the symphonic frescoes «Taras Bulba» by Sergey Turneev

The image of Ukraine in the symphonic frescoes «Taras Bulba» by Sergey Turneev

Fátima – a fábula mística e o papel da literatura

The analysis of the literary production on the subject of Fatima, published in Portugal between 2015 and 2017 on the occasion of the centennial of the events in Cova da Iria, is an opportunity to reflect on the role of the literary device within the ecclesial discourse, showing that the more autonomous in its aesthetic rationality, the more spiritually and sapientially effective it is. Affirming itself as one of the possible expressive vectors of the symbolic conversion of vision into apparition (in the hermeneutical sense of the term), the poetic word is especially receptive to the mystical dimension that constitutes the Fatima secret, and its force of attraction for so many souls, be they believers or not. Finally, this paper provides a short overview of the works analysed.

Glasstexts: Seeing Through Rossetti's Material Word

Rossetti's relationship to the material has always received critical attention, most recently in the work of Matthew Polotsky and Brian Donnelly. Eric Fontana has investigated the speech acts in his poems, but no work has considered words themselves as material objects in Rossetti's poetry. Focusing exclusively on instances of glass inscription in Rossetti's poems, I show how the poet's material words recognise reading and writing as visual experiences we sometimes forget we are having. By analysing inscribed glass in three key Dante Gabriel Rossetti poems, ‘Words On The Window-Pane’, ‘Jenny’, and ‘Rose Mary’, I investigate the ways in which Rossetti's glasstexts assume the duality of the surfaces on which they appear, arguing that they draw our attention to words as both things and pictures of things. I suggest that scratched, scrawled and engraved words enhance the contradictions and complications inherent in glass, and intensify the complex interplay between transitivity and reflection that defines the experience of reading itself. I also argue that these glasstexts are of their historical moment because, as Isobel Armstrong has shown, they are preoccupied with surface markings that betray glass as visible mediation, revealing its dual function as medium and barrier.

The Concept of Forced Silence in Hryhoriy Chubai’s Poetry

The article is focused on the concept of silence in the poetry of Hryhoriy Chubai, which is fundamentally important for the Ukrainian poetic underground of the late 1960s and 1970s. This concept has many axiological and semantic dimensions that vary even in the texts of one author. The phenomenon of the unvoiced is substantial for surrealistic and hermetic poetics, and is predisposed to the philosophical particularities of underground Ukrainian poetry. It is also connected to “internal emigration” as a constructive strategy of the author, resisting the cultural and ideological abuse of totalitarianism. However, the main dimension of our analysis is a forced silence of the lyrical subject that faces the atrophy of the poetic word and the disappearance of its magical potency. The poetry is functionally close to prayer, since it structures the world, establishes a bond between earth and heaven, body and soul, past and present. When the human voice is deadened, Chubai’s world loses a sacred beginning, thus reluctant silence is associated with ungodliness and philistinism. This state is connected with the destruction of cosmic unity and an invasion of absolute otherness – chaos, death, and oblivion. In Chubai’s verse such decay is symbolically associated with Soviet topoi, while the possibility of resistance lies in the spheres of national language, culture, and memory, which oppose silence and pave the way to a sacred word.

Poesía y fotografía. Defensa de la mirada constructora: un diálogo intermedial de Alberto García-Alix y Jenaro Talens

En este artículo se lleva a cabo un ensayo de análisis comparatista entre la fotografía de Alberto García-Alix y la poesía de Jenaro Talens a propósito de la colaboración de ambos autores en el libro Lo que los ojos tienen que decir (Cátedra, 2014). El trabajo se fundamenta metodológicamente en una teoría radical de la intermedialidad y en los conceptos de imagentexto (WJT Mitchell 1994, 2019) y de iconotexto, término con el que el mismo Talens designa una serie de libros en los que su poesía ha dialogado en el tiempo con la imagen visual. A partir de una serie de categorías poéticas comunes (la articulación discursiva del sujeto, el deseo y la mirada constructora como fuerzas creadoras y la imagen poética como espacio común a fotografía y palabra poética) y de una serie de técnicas fotográficas que son simuladas y adaptadas por el poeta (encuadre, fuera de campo, profundidad de campo, exposición a la luz) este libro ofrece un caso extraordinario de resistencia a la estética realista, apostando por una concepción fuertemente material y espacial, abierta al misterio y comprometida en la deconstrucción de toda posible autobiografía o autorretrato en sentido referencial estrecho.

The Voice

The Voice R. M. Berry (bio) Stanley Cavell and the Potencies of the Voice Adam Gonya Bloomsbury Academic www.bloomsbury.com 224 Pages; Cloth, $84.00 In Stanley Cavell and the Potencies of the Voice, Adam Gonya offers a new way of understanding Stanley Cavell's philosophy, situating it relative to two "pictures" of the human voice. According to the first, a speaker or writer knows something and selects the right words to communicate it. According to the second, a speaker or writer surrenders to a mood and words simply come. Gonya calls the former the picture of the voice's "assertive potency" and the latter the picture of its "receptive potency," and he takes Schopenhauer and Nietzsche to exemplify each. While the metaphysical alienation imagined by both Arthur Schopenhauer and Friedrich Nietzsche seems without obvious parallel in Cavell's work, what interests Gonya is the role of language in the two philosophers' responses to it. In Schopenhauer's philosophy, a poet escapes metaphysical confinement by perceiving "the particular thing," not as an example under a concept, but as "the [transcendental] Idea of its species." Only after having attained this "pure knowledge" does he or she face the problem of how to express it. The compositional task becomes one of using words to qualify and limit other words, "as one dull knife can sharpen another," producing a distinct representation freed of all abstraction. Theoretically, it could be rendered in prose as well as poetry, since the material qualities of language—rhythm, alliteration, accent, syntax, rhyme—add nothing to it. Its meaning is translatable into other languages without loss. While this account of satisfactory expression bears some similarity to Logical Positivism's picture of ideal reference, it diverges sharply from Nietzsche's account of Dionysian poetry. For Nietzsche, the Dionysian utterance has no prose equivalent or adequate translation. Instead, it originates in a state of intoxication, a "musical mood" that is fundamentally alien to words and concepts. Rather than sharpening meaning, the poet's words only expose their meaning's inadequacy, as though pursuing an impossible absoluteness of differentiation and "straining [language] to its limits to imitate music." While it is not clear that this pursuit gives verbal sounds priority over sense, it is clear that Dionysian poetry, like music, is without articulable content. The poet is a medium or channel merely, with no knowledge of his or her own to impart. As Gonya put it, "The Dionysian utterance … is its singularity." Cavell's importance for Gonya is that his ordinary language procedure, asking what we say when, represents an overlap of these two pictures. Gonya interprets Cavell's ambition to "bring the human voice back into philosophy" as "a therapeutic broadening of what we have called the first potency to include the resources of the second," a broadening that exposes the "sometimes tragic" consequences of philosophy's restriction to justified assertion alone. To bring out these consequences, Gonya introduces three figures—"Jungle Man," "Skeptical Man," and "Common Man"—which he believes make concrete the "zones of expressive strain or miscarriage or even failure" that Cavell addresses. In discussing each, Gonya detects a struggle in Cavell's writing between the imperative to make oneself intelligible and the imperative to avoid falsifying oneself, and if, as Gonya suggests, Cavell proceeds more by receptiveness to what we say when than by testing it against antecedent knowledge, the metaphysical question of the origin of what we say when becomes hard to ignore. It is hard not to feel that Jungle Man is less germane to Cavell's philosophy than Gonya's other figures, since Cavell never treats a lack of training in or exposure to language as a philosophical problem. In that sense, Jungle Man may represent a zone of expressive failure less than a philosophical fantasy of such failure, one that Wittgenstein's therapies would try to make "completely disappear." The fantasy is of someone native to our community who because of some extraordinary experience—Jungle Man wanders off as a child and then, after miraculously surviving in the wild for fifteen years, returns home—finds our ordinary expressive practices unnatural. "Of what had he been deprived that now...