Process Of Literary Creation Research Articles

The Yijing as Inspiration in Raymond Queneau’s Morale Élémentaire III (1975): An Intermingling of the Particular and the Universal

Abstract The third part of Raymond Queneau’s last work (1903–76), Morale élémentaire (Elementary Morality, henceforth EM3), a collection of prose poems published in 1975, is composed of 64 poems like the 64 hexagrams of the Yijing. Having found his notes on Philastre’s translation of the Yijing during the writing of EM3, one can wonder by what mechanisms the Yijing inspired Queneau’s creation. This article shows that EM3 is an intertwining between the particular and the universal. In the autobiographical and particular side of EM3, Queneau integrates his memories, his experiences and references to the news of his time. The universal side of EM3 stands in the impersonal and indefinite style of the elementary wisdom of the Yijing from which Queneau takes up certain precepts and replies to the Kantian question ‘[w]hat should I do?’ with a quest of happiness and self-realisation. The latter lies in Queneau’s description of his quest for writing and of his process of literary creation.

A Sorrow Beyond Dreams (1972) by Peter Handke: the story of the mother's death and the process of literary creation

Este ensayo aborda el papel que juega la historia del suicidio de la madre de Peter Handke -a la edad de 51 años – como espacio para la reflexión sobre las condiciones del proceso creativo y de su propia narración.

The dramatic writing workshop as a mediating practice between literary creation and social phenomenon

The workshop of theatrical writing can be understood as a literary and artistic mediation practice because it can allow people to open themselves to cultural objects that they do not usually frequent. The playwright Luc Tartar met with several groups of teenagers to conduct writing workshops aimed at developing their taste for literature, transforming their relation with writing and develop their sensitivity to theatre. The writing workshops were then able to bring to light the psychosocial reality of youth while they gave material to the production of the playwright who thus found an artistic material in direct contact with this youth. This device based on an interaction that informs about the sociology of youth and invites to reassess the processes of literary creation from a mix of practices. This mediation can be thought in terms of literary engagement because it creates a space of sociability and exchange for young people and is imbued with it, participating in the legitimation of this social category.

O PROCESSO DE ESCRITA LITERÁRIA E O CO-ENGENDRAMENTO DA OBRA DE ARTE E DO AUTOR

A escrita e o processo de criação em Literatura têm sido objeto de investigação em diferentes campos do conhecimento, entre os quais destacam-se a crítica literária e os saberes psi, como a Psicanálise, a Psicologia cognitiva e a Psiquiatria. Nesses campos, abordagens de cunho biográfico e psicologizante foram, por vezes, predominantes. O objetivo deste artigo é analisar as críticas a tais abordagens e buscar alternativas à relação causal entre autor e obra. Com base em Barthes, Foucault e Chartier, procuramos evidenciar que a autoria não é natural, mas surgiu no século XVII, repercutindo nas análises literárias. A partir de Blanchot e Dewey, argumentamos que o escritor se deixa guiar pelo que percebe: é escritor e leitor, simultaneamente. Com Varela, Thompson e Rosch, concluímos que a obra e o autor são efeitos de um mecanismo de coemergência, sendo engendrados de um mesmo processo de criação literária.

VALE TUDO EM PEGA PEGA ”“ O MESMO QUE SIGNIFICA DIFERENTE (EM) CENA DA LITERATURA TELENOVELÍSTICA BRASILEIRA

Dentro do processo de criação literária, a novela, trata-se de uma das várias manifestações em prosa. À vista disso, a televisão vem explorando tal componente através do núcleo artístico das telenovelas brasileiras, com instigantes possibilidades, inclusive, de trazer à tona, cenas clássicas que fizeram grande sucesso e marcaram época na dramaturgia. Nesse enquadramento, pelo viés da Análise do Discurso de linha francesa, enquanto dispositivo teórico e analítico, vê-se o mobilizar da memória discursiva, que repete, refuta e transforma-se, histórico e socialmente na ação da literatura telenovelística, produzindo efeitos de memória nos telespectadores, gerando novas formulações no interdiscurso das personagens que se comportam como à quelas e trazem o repetível, “puro já dito”, em outros momentos da teledramaturgia. Desse modo, este artigo pretende analisar a presença da memória discursiva e do interdiscurso na ação que o personagem Athaíde tenta fugir e reviver/refazer a cena em que Marco Aurélio “faz um gesto de mandar uma banana para o Brasil”, dando visibilidade aos movimentos parafrásticos e polissêmicos que se fundam sob essas diferentes conjunturas. Focam-se como objetos de análises as novelas Vale Tudo (1988) e Pega Pega (2017), veiculadas pela TV Globo e como corpus discursivo utilizou-se duas imagens que circulam na mídia digital.

O Modus Operandi do Escritor: Desconstrução do Ato Criador Poético a Partir da Análise do Ensaio a Filosofia da Composição de Edgar Allan Poe

Edgar Allan Poe´s intricate theory about process of literary creation is noted for two essential points: firstly, a literary work of art must create a unity of effect on reader -the single preconceived effect -, to be considered successful; secondly, production of this single effect should not be left to hazards of accident or inspiration, but should minutest detail of style and subject be result of rational deliberation on part of writer, what emphasizes symbiosis of poetic creation creator's mental faculties as opposed to romantic aesthetic that faced it as a purely intuitive phenomenon (Silva: 1967). In poetry, single preconceived effect must arouse reader´s sense of beauty, since it constitutes the province of (Poe 2016: 38), an ideal that author associated melancholy, strangeness and loss; in prose, this effect should be one revelatory of some truth, as in works evoking terror, passion or horror. Thus, having as a starting point Philosophy of Composition (1846), we illustrated modus operandi of writer, that is, a methodical way of operating on literary creation which Poe describes with precision and rigid sequence of a mathematical problem (ibidem: 36), using as example multiple steps involved on elaboration of his poem The Raven. In order to explicit underlying theory about process of artistic creation on Poe´s aforementioned essay we also studied following elements: extent, method and unity of effect, and casted distinct perspectives that emerged over time in this field of literary studies.

The Epistolary Counterpoint in V.V. Rozanov’s Polemic Works (On the Materials of the Manuscripts Department of the Russian State Library)

The article presents the categories of the declared topic (counterpoint, dialogism). It considers a viewpoint on the method of philosophical monologue in V.V. Rozanov’s works. In contrast to previous studies, the article shifted the focus of consideration of the creative method of V.V. Rozanov towards publication of his correspondents’ letters. The author joins the scientists who consider polyphonism to be the main method of poetics of V.V. Rozanov’s works. The article deals with the principal ideas of the dialogic method used by the thinker to work with the texts of the letters. The article notes the novelty in Russian literature of the epistolary-dialogical genre used by the writer during the publication of letters of such prominent figures of Russian culture as V.S. Solovyov, S.A. Rachinsky, N.N. Strakhov, which are now stored in the Manuscripts Department of the Russian State Library. V.V. Rozanov’s use of notes and comments to letters of his correspondents can be considered priority, marking the beginning of his unique polemic style, which eventually grew into the unsurpassed author’s genre of “fallen leaves”. It is noted that it was V.V. Rozanov who managed to turn the genre of notes from an auxiliary component of book’s content into the main one. In addition to well-known epistolary publications in the series “Literary Exiles”, the article draws attention to the fact that V.V. Rozanov uses letters of the clergy in the course of the religious and philosophical discussions of the early 20th century on modernization of the Church. The article confirmed the point of view that V.V. Rozanov used the dialogical method while creating the texts of his publications, by the example of his work with letters in the unique genre of “Literary Exiles” and in early polemical works. There is shown that the process of literary creation in V.V. Rozanov’s works invariably reflects the discursive nature of his way of thinking and exhibits before the reader the creator of new forms of self-expression in literary creativity.

Henri meschonnic O traduzir e o poema, um processo de criação contínuo

Nesse artigo, circunscrevo a reflexão em torno do processo de criação literária e analiso manuscritos autógrafos do acervo Henri Meschonnic, poeta, ensaísta e tradutor da Bíblia. Embaso minha reflexão sobre a análise de um conjunto de manuscritos, referentes à gênese de um ensaio teórico, de poemas e de um processo tradutório. Apresentarei um recorte de três exemplos para mostrar que é possível tentar entender como funciona o processo de criação do autor em seu ato de escritura: reflexivo e teórico, na textualização do ensaio Poética do traduzir; poético e tradutório, no traduzir da Bíblia hebraica. Tentarei esboçar uma primeira reflexão sobre o recurso à crítica genética para analisar o que um texto faz e como ele faz, o que Henri Meschonnic chama atividade. Algo que não concerne ao sentido, mas ao ritmo. O ritmo como a organização do movimento da fala na escritura, que constrói um sistema de discurso, próprio ao sujeito, e que tem uma atividade. Ele age.

Flora and Fauna in Miloš Crnjanski’s Short Stories

This paper is a summary of the complete initial phase in the research of flora and fauna in Milos Crnjanski’s prose. Thus far, there has merely been research of either the flora, or the fauna motif, but it failed to analyze and examine their ecaustics, and it was not systematical. Our aim is not only to contribute a new reading of the Serbian classic writer to literary science, but to point out the potential of the given singularities the writer counted on during the process of literary creation. The paper analyses the short stories most relevant to the issue and stories which mutually correspond to the flora and fauna motif. They are “Adam and Eve,” “The Killers (a grotesque),” “Holy Vojvodina” and “The Garden of Blessed Women”. Based on our research and analyses, we have discovered no less than three mutual links – the garden, the rose, and the opera – through which the plant and animal life is semanticized in Crnjanski’s prose.

Reflexiones literarias de escritores en lengua alemana desde el exilio en México en la revista Freies deutschland (Alemania Libre)

Los escritores alemanes que llegaron durante el exilio a México lograron fundar una editorial, un club teatral, asociaciones culturales y varios periódicos y revistas. Una de ellas fue la revista Freies Deutschland (Alemania Libre), de contenido político pero también artístico y literario. En ella se publicaron, de mano de los propios escritores alemanes, numerosas reflexiones en torno a la producción literaria en el exilio que nos ayudan a entender en qué medida la guerra influyó en los escritores de habla alemana y, a su vez, en los procesos de creación literaria de esa época.

How This Book Was Made by Mac Barnett

Reviewed by: How This Book Was Made by Mac Barnett Deborah Stevenson, Editor Barnett, Mac How This Book Was Made; illus. by Adam Rex. Disney Hyperion, 2016 [48p] ISBN 978-1-4231-5220-0 $17.99 Reviewed from galleys R 5-8 yrs The story here starts with the author’s arm-wrestling of a tiger, an event that, he knows, needs to become a book, but Barnett then uses the creation of that story to [End Page 6] turn a lens on the process of literary creation itself: “The first draft of this book was not so good. Neither was the second draft. Or the third. Or the twelfth.” There’s some comic but ultimately authentic detail about working with an editor (“I took some of her advice. And I ignored some of her advice”), getting the book printed, and getting those printed books shipped. At that point things turn into a more freewheeling story about the fantastical digressive journey this particular volume undertook, ending on the reader-response note that it was really when “you read this book through to the very last page” that this book was made. While the story gets a little rambly at times, it’s friendly and vigorous, depicting writing as a communicative process rather than one of silent inspiration, and the emphasis on the necessity of imperfect work is laudable and valuable. Rex’s mixed-media art is robust and genial, with bold pencil strokes, lively collage layering, and lots of map and globe images for the communication and shipping scenes. The layout is enjoyably hectic, with text in informal font appearing aslant within bubbles and hills in contrasting digital color, adding to the humorous tumult. Kids who’d snore their way through a factual account will embrace this sustained dad joke about authorship. Copyright © 2016 The Board of Trustees of the University of Illinois

Écrire contre l'argent, au risque de la sanction : Chantal Chawaf, Délivrance brisée

This paper examines the risks involved in writing with reference to the work and reflections of Chantal Chawaf. Focusing specifically on Chawaf's Délivrance brisée (Paris: La Grande Ourse, 2013) and on the controversy that followed its publication, and drawing insight from an interview conducted with the author herself, I present a brief case study of how a profit-driven culture, the commercial realities of the book publishing industry, and the risk of sanction influence the process of literary creation.

A Hebrew poetry contest in early-fifteenth-century Zaragoza

This article studies an unknown letter found in a manuscript belonging to the library of the Jewish Theological Seminary in New York. The letter was written by Shelomo ben Reuben Bonafed (Aragon, first half of the fifteenth century), known as the last Hebrew poet in Christian Iberia and sent to one of his friends in Zaragoza. In the letter Bonafed refers to the composition and submission of one of his poems celebrating the donation of a crown for the Torah scroll in the Synagogue of the Bikkur Holim in Zaragoza. This article offers the Hebrew text of the letter as well as its English translation and brings under analysis the social and cultural background of the text paying particular attention to its original epistolary form; to its contents with respect to the process of literary creation in the context of fifteenth-century Hebrew literature; and to the sociohistorical circumstances of its composition, with a special emphasis on patronage, analyzing the figures and institutions that were involved in the episode of the crown donation and the writing of the poem.

Morality, Historical Narrative, and Problems in New Formalism

Morality, Historical Narrative, and Problems in New Formalism Peter Sinnott Jr. I In a recent article, "Narrative Accidents and Literary Miracles," Evan Horowitz argues that there is "a widespread, if not fundamental, incommensurability between the historical and the aesthetic, which any rigorous critical enterprise needs to carefully accommodate."1 His point is that any critical approach to literature that emphasizes history, i.e., historical criticism, cultural studies, and Marxist criticism, cannot account for what is truly "literary" in literature. He supports his claim that the aesthetic and the historical are incommensurable by demonstrating how history is "suffused with accidents," while literary narrative is a product of careful design by the author ("NALM," p. 77). As I see it, Horowitz's argument has two components. First, he makes a philosophical claim about the nature of history and the nature of the aesthetic. Second, he attempts to show that the validity of this philosophical claim demonstrates the validity of his statement concerning the professional practice of literary scholars. I argue that Horowitz's distinction between history and the aesthetic rests on a gross misunderstanding of the nature of historical events as well as a misunderstanding of historically oriented criticism. More than a litany of accidents, historical representations share the structure of literary narrative and therefore have common ground with aesthetic representation. This common ground is not indicative of how historical [End Page 257] discourse is warped by literary narrative or the aesthetic. Rather, the narrative dimension of historical representations helps us to understand and deal with events in our lives, whether these events are happenstance or not. In short, narrative design is a mental process we use to understand the events of everyday life. If we accept this premise, it is difficult to accept Horowitz's claim that history and the aesthetic, or narrative at least, are incommensurable. My argument does not only concern the philosophical question of how aesthetics relates to history; I also find problematic the trend in new formalist criticism that Horowitz's article represents. Certain strains of new formalism attempt to narrow the disciplinary field and minimize or exclude completely the influences of other disciplines, especially philosophy and history. In this way new formalism has not only exhibited a tendency to reject certain practices within literary studies but has also put forth arguments that go against the very nature of interdisciplinary work. This rejection often occurs in the name of reestablishing a concrete object of study that can only be understood through the privileged domain of formal analysis, and this privileged domain can only be reestablished fully by excluding other critical practices. Horowitz argues, in his essay, for the presence of a "resistant aesthetic core" with a clearly definable quality—"being accident free" ("NALM," p. 72). With this objective established, literary studies can once again concentrate upon the aesthetic object that had been obscured by too much focus on historical context. Horowitz's argument is symptomatic of a reductive strain in new formalism, which only establishes an aesthetic object by ignoring or reducing to caricature arguments rooted in other disciplines. For instance, Horowitz sums up the claims of historically oriented criticism through vague assertions like "history shapes literature," without explaining what that means in any specific fashion, failing in his own call for a rigorous critical enterprise. Even arguments against the norms and claims of other critical orientations and disciplines should be inclusive to the point that they address those claims in an open and scrupulous fashion. Horowitz does admit that history and literature communicate, if not as disciplines, then as realms of life, but once history passes through the process of literary creation it is something other than history. In this attempt to establish a definite object for literary studies to examine, a narrowing of a disciplinary field occurs that is at odds with the ideal of interdisciplinary studies. I will return to this point at the end of this article, but for now, I want to argue that at the heart of interdisciplinary [End Page 258] studies is an ability to look with an open mind at how scholars from another discipline view the same object. A rigorous and careful examination in this light often means...

The Process of Literary Creation Across Cultural Borders: A Reading of Rohinton Mistry’s “Swimming Lessons”

The aim of this paper is to consider the process of literary creation as recreated by the Indian author Rohinton Mistry in his short story “Swimming lessons.” The dislocation of the main character from India to Canada allows him to turn his memories into fictional material and cross cultural borders. Literature is thus turned into a space of reflection which allows him to makes sense of his own experience in the diaspora.

Ekphrasis and the Creative Process in Henri Michaux's En revant a partir de peintures enigmatiques (1972)

Ekphrasis is examined here in terms of the creative process behind Henri Michaux’s En revant a partir de peintures enigmatiques (1972), a collection of prose poems inspired by the paintings of Rene Magritte. Ekphrasis will be primarily understood as a verbal description of a visual work of art; Michaux’s use of this technique will be seen to question its traditional boundaries and limitations. Analysing Michaux’s exploration of the processes of literary creation through ekphrasis in this text also highlights Magritte’s similarly playful interrogation of representation. A central concern here is the ekphrastic work’s constant struggle to dis engage from its source of inspiration whilst being in itself a prolonged engagement with this source. Michaux’s interpretation and manipulation of images (Magritte’s paintings) and the literary form (the prose poem) are also explored in terms of his dual status as artist-writer. Given that grainy photographs are the basis of Michaux’s initial encounter with many of the paintings described, what is the status of the painting and its potential to generate ekphrasis in the age of mechanical reproduction? How might the ‘visual poetry’ of Magritte be recreated or interpreted in a poetic work?

Samuel Sheppard’s Faerie King and the Fragmentation of Royalist Epic

This essay offers a reading of Samuel Sheppard’s little-known heroic poem, The Faerie King, as part of the virtual subgenre of unfinished Royalist epic. Begun in 1648 while the author was imprisoned for publishing Royalist propaganda, The Faerie King narrates the fortunes of the invented kingdom of Ruina in an obscure, fragmented allegory of the Civil War. Sheppard brings together conflicting elements of elevated poetic style and vulgar newsbook rhetoric in a volatile generic mix that registers the impact of actual war on the processes of literary creation and forms of authorship available in the Interregnum.

On Poetry and Collaboration in the Nineteenth Century

On Poetry and Collaboration in the Nineteenth Century1 Seth Whidden Villanova University Armand haussa les épaules, et sur un ton tout différent: "Pour te consoler, veux-tu savoir la composition de notre premier numéro? Il y aura donc mon nocturne; quatre chansons de Cob-Lafleur; un dialogue de Jarry; des poèmes en prose du petit Ghéridanisol, notre pensionnaire; et puis le Fer à repasser, un vaste essai de critique générale, où se préciseront les tendances de la revue. Nous nous sommes mis à plusieurs pour pondre ce chef-d'œuvre." Olivier, qui ne savait que dire, argue gauchement: "Aucun chef-d'œuvre n'est le résultat d'une collaboration."2 So says Olivier in Les faux-monnayeurs, and he is not alone in his distaste for multiple authorship. The "myth of solitary genius,"3 as Jack Stillinger and others have discussed, has long held sway in much of literary studies, going back to "the concept of the poet as prophet and possessor of transcendent knowledge [. . . giving] the writer and the artistic intention an especially exalted status."4 Recently, however, considerations of the instability of this traditional "solitary genius" have shown how, "[b]ecause a collaborative text depicts the author in nervous crisis (breaking down, splitting in two), double writing is a symptom of the monolithic author's decline."5 In this respect, literary collaboration is an example of Bakhtinian "heteroglossia," with multiple languages existing in every word.6 "Collaborative texts, like quilted novels, make the reader vulnerable to heterogeneity and indeterminacy, and, by obscuring who wrote what, they prevent the reader from limiting the text's sense."7 In particular, gender studies have questioned the notion of the monolithic author, with good reason, and have focused on the multiplicity offered by collaborative texts.8 For many such studies, literary collaboration extends beyond the page and enters into the more social aspects of textual creation; in this model, multiple authorship reflects "the partners' search for [End Page 73] fulfillment and self-expression."9 In a description that bears similar tones, the Goncourt brothers called their own collaboration: [. . .] la confession de deux vies inséparées dans le plaisir, le labeur, la peine; de deux pensées jumelles, de deux esprits recevant du contact des hommes et des choses, des impressions si semblables, si identiques, si homogènes, que cette confession peut être considérée comme l'expansion d'un seul moi et d'un seul je.10 Early studies of multiple authorship focused less on who contributed what and more on the silent partners: those whose contributions went unnoticed. As Bette London discussed in her book Writing Double: [. . .] in the case of women, literary collaborators suffered from a double invisibility—the invisibility of collaboration and the invisibility of women's writing. Even where such collaborations were openly recognized, they tended to be represented in ways guaranteed to ensure their marginalization. To study collaboration, then, was to study the conditions of its erasure.11 While Wayne Koestenbaum's Double Talk: The Erotics of Male Literary Collaboration is arguably the most important recent study of collaborative literature,12 it is incomplete in its consideration of multiple-author works. Texts from the Album zutique reside outside Koestenbaum's useful but somewhat limited definition, and I would like to propose a new model for considering literary collaboration, in nineteenth-century French poetry and beyond. Before I do, however, I should disclose my own biases concerning authorship. First, to avoid excessive repetition of the word "writer," I sometimes use the terms "author" and "writer" interchangeably, even though they obviously do not designate the same person, as illustrated by the example of Colette and Willy, among many others.13 As we shall see, collaboration focuses on the process of literary creation; as such, the writer should be taken to be the privileged member of any writer/author divide in this study. In addition, while there is much to be said about the numerous kinds of...

'Yo que no sé apearme': Inadequacy, Revelation and Technique in Rafael Arévalo Martínez's 'El trovador colombiano'

In 'El trovador colombiano', the second story of the collection El hombre que parecía un caballo, Rafael Arévalo Martínez develops his notion of the process of literary creation. According to this view, poetic inspiration does not depend upon the power or control exercised by the writer, but on his powerlessness, his/her passivity, and his inadequacy when trying to understand a complex and enigmatic reality; the artist achieves an intuition of the hidden order of things only when he feels most incapable and unworthy of such revelation. In this essay I attempt to analyse the implications of this view and several of the narrative strategies used by the the author to articulate it.

Processes of Literary Creation: Flaubert and Proust

Processes of Literary Creation: Flaubert and Proust