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Zarzar","profile_url":"https://gc-cuny.academia.edu/VictorZarour?f_ri=15514","photo":"https://0.academia-photos.com/12627508/3599610/34991710/s65_victor_xavier.zarour_zarzar.jpg"}</script></span></span></li><li class="js-paper-rank-work_75807747 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="75807747"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 75807747, container: ".js-paper-rank-work_75807747", }); });</script></li><li class="js-percentile-work_75807747 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 75807747; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_75807747"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_75807747 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="75807747"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 75807747; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=75807747]").text(description); $(".js-view-count-work_75807747").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_75807747").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="75807747"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1236" rel="nofollow" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" rel="nofollow" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7887" rel="nofollow" href="https://www.academia.edu/Documents/in/Italian_Literature">Italian Literature</a>, <script data-card-contents-for-ri="7887" type="text/json">{"id":7887,"name":"Italian Literature","url":"https://www.academia.edu/Documents/in/Italian_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a><script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=75807747]'), work: {"id":75807747,"title":"Lila Unbound: Critical Negativity and Entropy in Elena Ferrante’s Neapolitan Novels","created_at":"2022-04-08T04:19:25.937-07:00","url":"https://www.academia.edu/75807747/Lila_Unbound_Critical_Negativity_and_Entropy_in_Elena_Ferrante_s_Neapolitan_Novels?f_ri=15514","dom_id":"work_75807747","summary":null,"downloadable_attachments":[{"id":83431554,"asset_id":75807747,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12627508,"first_name":"Victor","last_name":"Zarour Zarzar","domain_name":"gc-cuny","page_name":"VictorZarour","display_name":"Victor Zarour Zarzar","profile_url":"https://gc-cuny.academia.edu/VictorZarour?f_ri=15514","photo":"https://0.academia-photos.com/12627508/3599610/34991710/s65_victor_xavier.zarour_zarzar.jpg"}],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=15514","nofollow":true},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=15514","nofollow":true},{"id":7887,"name":"Italian Literature","url":"https://www.academia.edu/Documents/in/Italian_Literature?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=15514"},{"id":23310,"name":"Novel","url":"https://www.academia.edu/Documents/in/Novel?f_ri=15514"},{"id":69388,"name":"Letteratura italiana moderna e contemporanea","url":"https://www.academia.edu/Documents/in/Letteratura_italiana_moderna_e_contemporanea?f_ri=15514"},{"id":909148,"name":"Elena Ferrante","url":"https://www.academia.edu/Documents/in/Elena_Ferrante?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36651122" data-work_id="36651122" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36651122/Pitch_Black_Black_Pitch_Theorizing_African_American_Literature">Pitch Black, Black Pitch: Theorizing African American Literature</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Abstract: This essay proffers that African American literature, especially that of the contemporary moment, seeks a non-canonical canon, that is, unlawful laws, unruly rules, reading lists that morph and shake serial listedness.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36651122" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Abstract: This essay proffers that African American literature, especially that of the contemporary moment, seeks a non-canonical canon, that is, unlawful laws, unruly rules, reading lists that morph and shake serial listedness. Furthermore, African American literature as theorized here is concerned with three constitutive nodes: first, a certain kind of memory, one that is not simply revisionist or a Morrisonian “rememory” but what I call “memoricity,” that which carries the historicity of moments, the very subjectivity of things not past but deeply contemporary. It denotes the historicity of the contemporary, and simultaneously the contemporaneity of history. Second, the underground, snugly fitting within familiar notions of the underground in African American literature, but here proffered as more than a site of secrecy or dormancy; it is, rather, a liminal, mezzanine space of generative disruption and, too, vibrant, volatile epistemic radicality. Thirdly, seeing: not to be reduced to ocular perception, it is a seeing that encapsulates a more capaciously embodied practice that engages more than simply the eyes, a seeing that is a matter of full corporeality. These three nodes are, in African American literature, characterized under the helm of a Black synesthetic practice—seeing-without-light, knowledges “muzzled to those shores,” a lexicon in the dark, unintelligible to the logic of the light, underground epistemologies. To be examined are six texts: Jacqueline Woodson’s Another Brooklyn (2016), Colson Whitehead’s The Underground Railroad (2016), Ben H. Winters’ Underground Airlines (2016), Natasha Trethewey’s Thrall (2012), Lyrae Van Clief-Stefanon’s Open Interval (2009), and Joshua Bennett’s The Sobbing School (2016).<br /><br />Copyright: This work originally appeared in CR: The New Centennial Review 18.1, winter 2018, published by Michigan State University Press.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36651122" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0ea7f4228be6a8ab3329cac4ce3bddd9" rel="nofollow" data-download="{"attachment_id":56584486,"asset_id":36651122,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56584486/download_file?st=MTczOTkwMTYwMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4777002" href="https://northwestern.academia.edu/MarquisBey">Marquis Bey</a><script data-card-contents-for-user="4777002" type="text/json">{"id":4777002,"first_name":"Marquis","last_name":"Bey","domain_name":"northwestern","page_name":"MarquisBey","display_name":"Marquis Bey","profile_url":"https://northwestern.academia.edu/MarquisBey?f_ri=15514","photo":"https://0.academia-photos.com/4777002/2031257/91484157/s65_marquis.bey.jpg"}</script></span></span></li><li class="js-paper-rank-work_36651122 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36651122"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36651122, container: ".js-paper-rank-work_36651122", }); });</script></li><li class="js-percentile-work_36651122 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36651122; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_36651122"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_36651122 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="36651122"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36651122; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36651122]").text(description); $(".js-view-count-work_36651122").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36651122").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36651122"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="10" rel="nofollow" href="https://www.academia.edu/Documents/in/American_Literature">American Literature</a>, <script data-card-contents-for-ri="10" type="text/json">{"id":10,"name":"American Literature","url":"https://www.academia.edu/Documents/in/American_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="296" rel="nofollow" href="https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies">Black Studies Or African American Studies</a>, <script data-card-contents-for-ri="296" type="text/json">{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6258" rel="nofollow" href="https://www.academia.edu/Documents/in/African_American_Literature">African American Literature</a>, <script data-card-contents-for-ri="6258" type="text/json">{"id":6258,"name":"African American Literature","url":"https://www.academia.edu/Documents/in/African_American_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14912" rel="nofollow" href="https://www.academia.edu/Documents/in/African_American_Studies">African American Studies</a><script data-card-contents-for-ri="14912" type="text/json">{"id":14912,"name":"African American Studies","url":"https://www.academia.edu/Documents/in/African_American_Studies?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36651122]'), work: {"id":36651122,"title":"Pitch Black, Black Pitch: Theorizing African American Literature","created_at":"2018-05-16T13:35:41.342-07:00","url":"https://www.academia.edu/36651122/Pitch_Black_Black_Pitch_Theorizing_African_American_Literature?f_ri=15514","dom_id":"work_36651122","summary":"Abstract: This essay proffers that African American literature, especially that of the contemporary moment, seeks a non-canonical canon, that is, unlawful laws, unruly rules, reading lists that morph and shake serial listedness. Furthermore, African American literature as theorized here is concerned with three constitutive nodes: first, a certain kind of memory, one that is not simply revisionist or a Morrisonian “rememory” but what I call “memoricity,” that which carries the historicity of moments, the very subjectivity of things not past but deeply contemporary. It denotes the historicity of the contemporary, and simultaneously the contemporaneity of history. Second, the underground, snugly fitting within familiar notions of the underground in African American literature, but here proffered as more than a site of secrecy or dormancy; it is, rather, a liminal, mezzanine space of generative disruption and, too, vibrant, volatile epistemic radicality. Thirdly, seeing: not to be reduced to ocular perception, it is a seeing that encapsulates a more capaciously embodied practice that engages more than simply the eyes, a seeing that is a matter of full corporeality. These three nodes are, in African American literature, characterized under the helm of a Black synesthetic practice—seeing-without-light, knowledges “muzzled to those shores,” a lexicon in the dark, unintelligible to the logic of the light, underground epistemologies. To be examined are six texts: Jacqueline Woodson’s Another Brooklyn (2016), Colson Whitehead’s The Underground Railroad (2016), Ben H. Winters’ Underground Airlines (2016), Natasha Trethewey’s Thrall (2012), Lyrae Van Clief-Stefanon’s Open Interval (2009), and Joshua Bennett’s The Sobbing School (2016).\n\nCopyright: This work originally appeared in CR: The New Centennial Review 18.1, winter 2018, published by Michigan State University Press.","downloadable_attachments":[{"id":56584486,"asset_id":36651122,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4777002,"first_name":"Marquis","last_name":"Bey","domain_name":"northwestern","page_name":"MarquisBey","display_name":"Marquis Bey","profile_url":"https://northwestern.academia.edu/MarquisBey?f_ri=15514","photo":"https://0.academia-photos.com/4777002/2031257/91484157/s65_marquis.bey.jpg"}],"research_interests":[{"id":10,"name":"American Literature","url":"https://www.academia.edu/Documents/in/American_Literature?f_ri=15514","nofollow":true},{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=15514","nofollow":true},{"id":6258,"name":"African American Literature","url":"https://www.academia.edu/Documents/in/African_American_Literature?f_ri=15514","nofollow":true},{"id":14912,"name":"African American Studies","url":"https://www.academia.edu/Documents/in/African_American_Studies?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33576803" data-work_id="33576803" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33576803/Joan_Didions_Style">Joan Didion's Style</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Joan Didion is one of the most celebrated writers of our time. From her novels and reportage to her recent memoirs, Didion has honed a hallmark style and authorial persona, both of which have led to encomiums and controversy in the press.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33576803" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Joan Didion is one of the most celebrated writers of our time. From her novels and reportage to her recent memoirs, Didion has honed a hallmark style and authorial persona, both of which have led to encomiums and controversy in the press. Yet when compared to American writers of similar notoriety, there are comparably few scholarly treatments of Didion's writings. In this multivoiced essay, scholars of life writing, documentary, and fiction explore the aesthetics and politics of Didion's work, as well as the ways in which Didion's many genres of writing-essay, memoir, novel, reportage-contribute to US politics, literary aesthetics, and the way we think of life writing today.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33576803" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f9ea6bdaf8b82a17cd05e53b420e2ae2" rel="nofollow" data-download="{"attachment_id":53600048,"asset_id":33576803,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53600048/download_file?st=MTczOTkwMTYwMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="311399" href="https://osu1.academia.edu/LeighGilmore">Leigh Gilmore</a><script data-card-contents-for-user="311399" type="text/json">{"id":311399,"first_name":"Leigh","last_name":"Gilmore","domain_name":"osu1","page_name":"LeighGilmore","display_name":"Leigh Gilmore","profile_url":"https://osu1.academia.edu/LeighGilmore?f_ri=15514","photo":"https://0.academia-photos.com/311399/6328537/35072563/s65_leigh.gilmore.jpg"}</script></span></span></li><li class="js-paper-rank-work_33576803 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33576803"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33576803, container: ".js-paper-rank-work_33576803", }); });</script></li><li class="js-percentile-work_33576803 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33576803; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_33576803"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_33576803 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="33576803"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33576803; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33576803]").text(description); $(".js-view-count-work_33576803").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33576803").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33576803"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="20985" rel="nofollow" href="https://www.academia.edu/Documents/in/Memoir_and_Autobiography">Memoir and Autobiography</a>, <script data-card-contents-for-ri="20985" type="text/json">{"id":20985,"name":"Memoir and Autobiography","url":"https://www.academia.edu/Documents/in/Memoir_and_Autobiography?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="194513" rel="nofollow" href="https://www.academia.edu/Documents/in/Joan_Didion">Joan Didion</a><script data-card-contents-for-ri="194513" type="text/json">{"id":194513,"name":"Joan Didion","url":"https://www.academia.edu/Documents/in/Joan_Didion?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33576803]'), work: {"id":33576803,"title":"Joan Didion's Style","created_at":"2017-06-20T14:19:36.683-07:00","url":"https://www.academia.edu/33576803/Joan_Didions_Style?f_ri=15514","dom_id":"work_33576803","summary":"Joan Didion is one of the most celebrated writers of our time. From her novels and reportage to her recent memoirs, Didion has honed a hallmark style and authorial persona, both of which have led to encomiums and controversy in the press. Yet when compared to American writers of similar notoriety, there are comparably few scholarly treatments of Didion's writings. In this multivoiced essay, scholars of life writing, documentary, and fiction explore the aesthetics and politics of Didion's work, as well as the ways in which Didion's many genres of writing-essay, memoir, novel, reportage-contribute to US politics, literary aesthetics, and the way we think of life writing today.","downloadable_attachments":[{"id":53600048,"asset_id":33576803,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":311399,"first_name":"Leigh","last_name":"Gilmore","domain_name":"osu1","page_name":"LeighGilmore","display_name":"Leigh Gilmore","profile_url":"https://osu1.academia.edu/LeighGilmore?f_ri=15514","photo":"https://0.academia-photos.com/311399/6328537/35072563/s65_leigh.gilmore.jpg"}],"research_interests":[{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":20985,"name":"Memoir and Autobiography","url":"https://www.academia.edu/Documents/in/Memoir_and_Autobiography?f_ri=15514","nofollow":true},{"id":194513,"name":"Joan Didion","url":"https://www.academia.edu/Documents/in/Joan_Didion?f_ri=15514","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_442527" data-work_id="442527" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/442527/Australias_Other_History_Wars_Trauma_and_the_Work_of_Cultural_Memory_in_Kate_Grenvilles_The_Secret_River">Australia's 'Other' History Wars: Trauma and the Work of Cultural Memory in Kate Grenville's The Secret River</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Kate Grenville’s The Secret River (2005) enacts a narrative return to the violent trauma of Aboriginal dispossession and destruction upon which Australia is founded, situating its reader complexly, as both witness to and complicit in the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_442527" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Kate Grenville’s The Secret River (2005) enacts a narrative return to the violent trauma of Aboriginal dispossession and destruction upon which Australia is founded, situating its reader complexly, as both witness to and complicit in the events it retells. Her use of fiction to represent this trauma made Grenville the focus of heated public debate about the role of fiction in representing the past, a debate that repeatedly cast her project as historically dubious. However, rather than approaching the novel as a corrupted form of history’s reconstruction of past events, it seems more useful to situate this text as an act of memory in the present, which shapes both past and future. Even as it represents the past, Grenville’s novel addresses a present both deeply divided and in danger of forgetting its history. It uses the affective power of fiction to reinscribe and reactivate Aboriginal Australian history in the contemporary historical imaginary.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/442527" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a1b0f96f68854c520ae3a793a4824d75" rel="nofollow" data-download="{"attachment_id":53883229,"asset_id":442527,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53883229/download_file?st=MTczOTkwMTYwMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="146873" href="https://anu-au.academia.edu/KateMitchell">Kate Mitchell</a><script data-card-contents-for-user="146873" type="text/json">{"id":146873,"first_name":"Kate","last_name":"Mitchell","domain_name":"anu-au","page_name":"KateMitchell","display_name":"Kate Mitchell","profile_url":"https://anu-au.academia.edu/KateMitchell?f_ri=15514","photo":"https://0.academia-photos.com/146873/38820/96021352/s65_kate.mitchell.jpg"}</script></span></span></li><li class="js-paper-rank-work_442527 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="442527"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 442527, container: ".js-paper-rank-work_442527", }); 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$(".js-view-count[data-work-id=442527]").text(description); $(".js-view-count-work_442527").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_442527").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="442527"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="6106" rel="nofollow" href="https://www.academia.edu/Documents/in/Trauma_Studies">Trauma Studies</a>, <script data-card-contents-for-ri="6106" type="text/json">{"id":6106,"name":"Trauma Studies","url":"https://www.academia.edu/Documents/in/Trauma_Studies?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10233" rel="nofollow" href="https://www.academia.edu/Documents/in/Twentieth_Century_Literature">Twentieth Century Literature</a>, <script data-card-contents-for-ri="10233" type="text/json">{"id":10233,"name":"Twentieth Century Literature","url":"https://www.academia.edu/Documents/in/Twentieth_Century_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17248" rel="nofollow" href="https://www.academia.edu/Documents/in/Neo-Victorian_Literature">Neo-Victorian Literature</a><script data-card-contents-for-ri="17248" type="text/json">{"id":17248,"name":"Neo-Victorian Literature","url":"https://www.academia.edu/Documents/in/Neo-Victorian_Literature?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=442527]'), work: {"id":442527,"title":"Australia's 'Other' History Wars: Trauma and the Work of Cultural Memory in Kate Grenville's The Secret River","created_at":"2011-02-14T06:23:18.449-08:00","url":"https://www.academia.edu/442527/Australias_Other_History_Wars_Trauma_and_the_Work_of_Cultural_Memory_in_Kate_Grenvilles_The_Secret_River?f_ri=15514","dom_id":"work_442527","summary":"Kate Grenville’s The Secret River (2005) enacts a narrative return to the violent trauma of Aboriginal dispossession and destruction upon which Australia is founded, situating its reader complexly, as both witness to and complicit in the events it retells. Her use of fiction to represent this trauma made Grenville the focus of heated public debate about the role of fiction in representing the past, a debate that repeatedly cast her project as historically dubious. However, rather than approaching the novel as a corrupted form of history’s reconstruction of past events, it seems more useful to situate this text as an act of memory in the present, which shapes both past and future. Even as it represents the past, Grenville’s novel addresses a present both deeply divided and in danger of forgetting its history. It uses the affective power of fiction to reinscribe and reactivate Aboriginal Australian history in the contemporary historical imaginary.","downloadable_attachments":[{"id":53883229,"asset_id":442527,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":146873,"first_name":"Kate","last_name":"Mitchell","domain_name":"anu-au","page_name":"KateMitchell","display_name":"Kate Mitchell","profile_url":"https://anu-au.academia.edu/KateMitchell?f_ri=15514","photo":"https://0.academia-photos.com/146873/38820/96021352/s65_kate.mitchell.jpg"}],"research_interests":[{"id":6106,"name":"Trauma Studies","url":"https://www.academia.edu/Documents/in/Trauma_Studies?f_ri=15514","nofollow":true},{"id":10233,"name":"Twentieth Century Literature","url":"https://www.academia.edu/Documents/in/Twentieth_Century_Literature?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":17248,"name":"Neo-Victorian Literature","url":"https://www.academia.edu/Documents/in/Neo-Victorian_Literature?f_ri=15514","nofollow":true},{"id":18659,"name":"Australian History","url":"https://www.academia.edu/Documents/in/Australian_History?f_ri=15514"},{"id":21955,"name":"Historiographic Metafiction","url":"https://www.academia.edu/Documents/in/Historiographic_Metafiction?f_ri=15514"},{"id":22275,"name":"Literature and Trauma","url":"https://www.academia.edu/Documents/in/Literature_and_Trauma?f_ri=15514"},{"id":23109,"name":"Neo-Victorian fiction","url":"https://www.academia.edu/Documents/in/Neo-Victorian_fiction?f_ri=15514"},{"id":27997,"name":"Australian Literature","url":"https://www.academia.edu/Documents/in/Australian_Literature?f_ri=15514"},{"id":52526,"name":"Neo-Victorianism","url":"https://www.academia.edu/Documents/in/Neo-Victorianism?f_ri=15514"},{"id":122888,"name":"Neo-Victorian studies","url":"https://www.academia.edu/Documents/in/Neo-Victorian_studies?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40402235 coauthored" data-work_id="40402235" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40402235/Montale_a_cura_di_Paolo_Marini_e_Niccol%C3%B2_Scaffai_Roma_Carocci_2019">Montale, a cura di Paolo Marini e Niccolò Scaffai, Roma, Carocci, 2019</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La centralità di Montale nella storia della poesia italiana è dovuta alla capacità di acquisire elementi tematici e formali della tradizione rielaborandoli in un linguaggio nuovo. L’esperienza di un autore che ha attraversato il Novecento... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40402235" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La centralità di Montale nella storia della poesia italiana è dovuta alla capacità di acquisire elementi tematici e formali della tradizione rielaborandoli in un linguaggio nuovo. L’esperienza di un autore che ha attraversato il Novecento letterario diventandone spartiacque e insieme punto di riferimento ineludibile è indagata in questo volume da 14 studiosi che si misurano in una ricognizione globale di testi e questioni aggiornata alle più recenti acquisizioni: da Ossi di seppia agli ultimi libri di poesie degli anni ’70, alle prose narrative; e quindi, trasversalmente, dai nodi filologici alle specifiche linguistiche e metriche, dal rapporto con gli antichi (Dante in testa) e coi contemporanei (in Italia e fuori d’Italia) all’immensa produzione critica, sino al confronto fecondo con le arti figurative e con la musica.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40402235" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="41c508f49a62e31b699ecb98a2bedd4c" rel="nofollow" data-download="{"attachment_id":60654731,"asset_id":40402235,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60654731/download_file?st=MTczOTkwMTYwMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="953884" href="https://unitusdistu.academia.edu/PaoloMarini">Paolo Marini</a><script data-card-contents-for-user="953884" type="text/json">{"id":953884,"first_name":"Paolo","last_name":"Marini","domain_name":"unitusdistu","page_name":"PaoloMarini","display_name":"Paolo Marini","profile_url":"https://unitusdistu.academia.edu/PaoloMarini?f_ri=15514","photo":"https://0.academia-photos.com/953884/852249/52384890/s65_paolo.marini.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-40402235">+4</span><div class="hidden js-additional-users-40402235"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unisi.academia.edu/Niccol%C3%B2Scaffai">Niccolò Scaffai</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unipi.academia.edu/IdaCampeggiani">Ida Campeggiani</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unige-it1.academia.edu/PaoloZublena">Paolo Zublena</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unisi.academia.edu/RiccardoCastellana">Riccardo Castellana</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-40402235'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-40402235').html(); 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L’esperienza di un autore che ha attraversato il Novecento letterario diventandone spartiacque e insieme punto di riferimento ineludibile è indagata in questo volume da 14 studiosi che si misurano in una ricognizione globale di testi e questioni aggiornata alle più recenti acquisizioni: da Ossi di seppia agli ultimi libri di poesie degli anni ’70, alle prose narrative; e quindi, trasversalmente, dai nodi filologici alle specifiche linguistiche e metriche, dal rapporto con gli antichi (Dante in testa) e coi contemporanei (in Italia e fuori d’Italia) all’immensa produzione critica, sino al confronto fecondo con le arti figurative e con la musica.","downloadable_attachments":[{"id":60654731,"asset_id":40402235,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":953884,"first_name":"Paolo","last_name":"Marini","domain_name":"unitusdistu","page_name":"PaoloMarini","display_name":"Paolo 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dissertation is concerned with how connections between human and nonhuman objects, hyperobjects and temporality are represented in contemporary anthropocene literature, namely Ben Lerner's novel 10:04 and Tom McCarthy's Satin... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38372793" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">My MLitt dissertation is concerned with how connections between human and nonhuman objects, hyperobjects and temporality are represented in contemporary anthropocene literature, namely Ben Lerner's novel 10:04 and Tom McCarthy's Satin Island. Through an ethical and aesthetic framework, I ask: how can the novel explore the ecological thought and how is narrative form uniquely capable of synthesising other artistic and textual practices in a way that conveys and embodies the feedback loops of irony, aesthetic causality and ‘deep time’ characteristic of hyperobjects, ecological disaster and object encounters within the anthropocene?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38372793" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="69f03233b96cf45ec0c16908c3b18af0" rel="nofollow" data-download="{"attachment_id":58427011,"asset_id":38372793,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58427011/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5768352" href="https://strathclyde.academia.edu/MariaSledmere">Maria Sledmere</a><script data-card-contents-for-user="5768352" type="text/json">{"id":5768352,"first_name":"Maria","last_name":"Sledmere","domain_name":"strathclyde","page_name":"MariaSledmere","display_name":"Maria Sledmere","profile_url":"https://strathclyde.academia.edu/MariaSledmere?f_ri=15514","photo":"https://0.academia-photos.com/5768352/2683301/130330277/s65_maria.sledmere.jpg"}</script></span></span></li><li class="js-paper-rank-work_38372793 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38372793"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38372793, container: ".js-paper-rank-work_38372793", }); 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Suggestioni dantesche in Montale</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Il dantismo montaliano è un chiaro esempio della capacità di un grande lettore di immergersi nella suggestione della Commedia e di farla propria senza l’illusione di volerla rifare. L’intervento si focalizza su due casi in cui memoria di... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39914119" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Il dantismo montaliano è un chiaro esempio della capacità di un grande lettore di immergersi nella suggestione della Commedia e di farla propria senza l’illusione di volerla rifare. L’intervento si focalizza su due casi in cui memoria di Dante e valore della memoria, temi cari a Montale, si compenetrano creando nuove soluzioni. In Sul limite (1946), prosa raccolta in Farfalla di Dinard, Montale, nella struttura e nel tema, rielabora un’atmosfera da Purgatorio dantesco che diventa preludio necessario alla lettura di Voce giunta con le folaghe (1947), raccolta nella Bufera. Un ardito volo transoceanico ci può condurre ad un altro lettore di Dante: Borges che nel 1964 riscrive, forse proprio alla luce delle letture dantesche, la poesia Limites. Per Montale e Borges al di là del tempo non c’è che un “vuoto inabitato”, un vuoto ed una nostalgia di fede che il senso della perfetta costruzione dantesca sembra poter in qualche misura colmare.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39914119" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="35acebbf2320864caf1b76041a9a2867" rel="nofollow" data-download="{"attachment_id":60102167,"asset_id":39914119,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60102167/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3612750" href="https://unina.academia.edu/MariaSilviaAssante">Maria Silvia Assante</a><script data-card-contents-for-user="3612750" type="text/json">{"id":3612750,"first_name":"Maria Silvia","last_name":"Assante","domain_name":"unina","page_name":"MariaSilviaAssante","display_name":"Maria Silvia Assante","profile_url":"https://unina.academia.edu/MariaSilviaAssante?f_ri=15514","photo":"https://0.academia-photos.com/3612750/1262817/1574037/s65_maria_silvia.assante.jpg"}</script></span></span></li><li class="js-paper-rank-work_39914119 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39914119"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39914119, container: ".js-paper-rank-work_39914119", }); 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href="https://www.academia.edu/26001534/From_Vance_Palmers_The_Passage_to_Susan_Johnsons_The_Landing">From Vance Palmer's The Passage to Susan Johnson's The Landing</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper compares Vance Palmer’s classic novel, The Passage (1930) set in Caloundra, with Susan Johnson’s The Landing (2015), a comic novel of manners set a further north on the contemporary Sunshine Coast. It considers the novels’... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26001534" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper compares Vance Palmer’s classic novel, The Passage (1930) set in Caloundra, with Susan Johnson’s The Landing (2015), a comic novel of manners set a further north on the contemporary Sunshine Coast.  It considers the novels’ different perspectives on Australian society and changing values, including attitudes to nature, arguing that Palmer’s novel now seems more mythic than realist while Johnson presents a more cynical view of Australian life. It was delivered at the ASALvets conference in Caloundra on 18th April, 2016</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26001534" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9decf2a4be4c6bbd55043b435246e500" rel="nofollow" data-download="{"attachment_id":46352317,"asset_id":26001534,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46352317/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="275634" href="https://sydney.academia.edu/SusanLever">Susan Lever</a><script data-card-contents-for-user="275634" type="text/json">{"id":275634,"first_name":"Susan","last_name":"Lever","domain_name":"sydney","page_name":"SusanLever","display_name":"Susan Lever","profile_url":"https://sydney.academia.edu/SusanLever?f_ri=15514","photo":"https://0.academia-photos.com/275634/56972/17828719/s65_susan.lever.jpg"}</script></span></span></li><li class="js-paper-rank-work_26001534 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26001534"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26001534, container: ".js-paper-rank-work_26001534", }); 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It considers the novels’ different perspectives on Australian society and changing values, including attitudes to nature, arguing that Palmer’s novel now seems more mythic than realist while Johnson presents a more cynical view of Australian life. It was delivered at the ASALvets conference in Caloundra on 18th April, 2016","downloadable_attachments":[{"id":46352317,"asset_id":26001534,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":275634,"first_name":"Susan","last_name":"Lever","domain_name":"sydney","page_name":"SusanLever","display_name":"Susan Lever","profile_url":"https://sydney.academia.edu/SusanLever?f_ri=15514","photo":"https://0.academia-photos.com/275634/56972/17828719/s65_susan.lever.jpg"}],"research_interests":[{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":18659,"name":"Australian History","url":"https://www.academia.edu/Documents/in/Australian_History?f_ri=15514","nofollow":true},{"id":27997,"name":"Australian Literature","url":"https://www.academia.edu/Documents/in/Australian_Literature?f_ri=15514","nofollow":true},{"id":91311,"name":"Australian fiction","url":"https://www.academia.edu/Documents/in/Australian_fiction?f_ri=15514","nofollow":true},{"id":167069,"name":"Queensland history","url":"https://www.academia.edu/Documents/in/Queensland_history?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13919579" data-work_id="13919579" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/13919579/L_autre_sc%C3%A8ne_dans_The_Three_Birds_de_Joanna_Laurens_enjeux_dramatiques_de_la_r%C3%A9%C3%A9criture_d_un_mythe">L’autre scène dans The Three Birds de Joanna Laurens : enjeux dramatiques de la réécriture d’un mythe</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La première pièce de Joanna Laurens, The Three Birds, (2000) propose une révision dramatique du mythe grec de Philomèle qui s’inscrit en contrepoint de la fable telle qu’elle est relatée dans les Métamorphoses d’Ovide. Le rapport à la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13919579" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La première pièce de Joanna Laurens, The Three Birds, (2000) propose une révision dramatique du mythe grec de Philomèle qui s’inscrit en contrepoint de la fable telle qu’elle est relatée dans les Métamorphoses d’Ovide. Le rapport à la langue et à la figure du barbare, paradigme de l’Autre, engage une réflexion sur la question des minorités, la voix de l’étranger et l’idée d’une réversibilité des postures. Barbarismes, irrégularités syntaxiques, « babélisation » font ici violence au langage ainsi qu’aux différentes langues parlées dans la pièce qui s’altèrent et se barbarisent à l’image des personnages, incarnant ainsi dans la chair du verbe la mutilation de la langue qui fait la matière cruelle du mythe. Au cœur de la pièce, elle-même réécriture d’une autre pièce – celle, perdue, du Térée de Sophocle – on retrouve en effet l’écriture d’une autre scène – celle, tabou, du viol et de l’amputation de la langue de Philomèle – qui, à défaut de pouvoir se dire, vient s’écrire sur la tapisserie que brode la jeune fille à l’attention de sa sœur pour révéler le crime étouffé par les mensonges en cascades de Térée en même temps qu’elle se reflète dans la trituration du langage. Cet article s’intéressera donc aux enjeux de la réécriture en tant que mise en place d’une alternative fondamentale à partir d’une perspective neuve – celle du barbare amoureux, ou plutôt de la barbarie de l’amour impossible – qui se reflète dans le motif intradiégétique de l’activité de tissage en tant qu’écriture de « l’Autre » (réécriture par l’Autre, la femme, de l’autre scène ou de l’autre pièce, qui ne peut être dite). Avec la duplicité intrinsèque du langage et l’exploration de son potentiel de transformation, nous verrons dès lors comment l’altérité se donne plutôt à voir comme altération, voire aliénation, jusqu’au creux de la langue où elle prend naissance pour la faire délirer (Deleuze). Le langage de la pièce reflète ainsi la façon dont l’humain vient faire trace dans la langue du barbare et montre comment, par-delà l’humanisation du Thrace, la barbarie vient à son tour réinvestir l’humain et marquer de son empreinte l’acte et le langage d’amour devenus viols. En déroulant à l’extrême le fil ténu qui sépare humanité et barbarie, les expérimentations poétiques de Laurens, où le langage et « l’autre » du langage se rencontrent dans leurs contradictions-mêmes, permettent ainsi de renouveler le sens du mythe grec autant que le langage dramatique sur la scène théâtrale à l’aube du vingt-et-unième siècle. <br /> <br />-- <br /> <br />Joanna Laurens’ first play The Three Birds (2000) is a retelling of the Greek myth of Philomela in which language undergoes a poetic treatment unprecedented on the contemporary British stage. Mirroring and enacting the characters’ evolution from innocence to barbarism, language is distorted and altered to an extreme through a creative process involving word coinage (i.e. barbarisms), syntactic irregularities, and ‘babelisation,’ thus bringing out and performing the violence of the myth. Departing from Ovid’s poem which is itself a reworking of the original fable, as well as from the feminist takes on the story during the second half of the twentieth century, Laurens’ dramatic writing offers a new approach to the language and figure of the Barbarian, a traditional paradigm of the Other. She addresses such issues as the oppression of minorities, the voice of the stranger, and the reversibility of ethical positions by providing a reflection on the intrinsic duplicity of language itself and by exploring its potential for ‘metamorphosis’ and manipulation, thus presenting otherness as alienation. At the core of the play, which is a rewriting of another (lost) tragedy – that of Sophocles’ Tereus –, are Tereus’ lies, which are a rewriting of another (taboo) story – that of Philomela’s rape and amputated tongue. Although it can’t be verbally expressed by the young woman, this traumatic episode is nonetheless revealed through a tapestry she weaves for her sister Procné to denounce the crime of the lying husband, the needlework compensating her lost voice. This article thus looks at the issues at stake in Laurens’ rewriting, which can be read as the Other of the Greek myth and its famous feminist interpretations. Not only does her play propose an alternative which stems from an unusual, profoundly humane perspective – the suffering of a man whose love is thwarted – but this reversal is also mirrored in the intradiegetic motif of the tapestry as a writing of the Other (the scene behind the scenes, unheard of) by the Other (the abused, silenced woman). I propose to study how the Other comes to be inscribed at the core of language where it takes shape, rendering it delirious (Deleuze), as humanity can be traced in the Barbarian and barbarism can in turn affect humanity beyond the figure of the Thracian. As the act and language of love are turned into linguistic abuse and physical rape, Laurens’ formal experimentations, where language and the Other of language meet at the crossroad of their own contradictions, allow for a renewal in the meaning of the Greek myth as well as in the dramatic language on the British stage at the start of the twenty-first century.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13919579" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a59e728a5b8dae43fe8b22c006f7ccf0" rel="nofollow" data-download="{"attachment_id":84690982,"asset_id":13919579,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84690982/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="274055" href="https://sorbonne-universite.academia.edu/SolangeAyache">Solange Ayache</a><script data-card-contents-for-user="274055" type="text/json">{"id":274055,"first_name":"Solange","last_name":"Ayache","domain_name":"sorbonne-universite","page_name":"SolangeAyache","display_name":"Solange Ayache","profile_url":"https://sorbonne-universite.academia.edu/SolangeAyache?f_ri=15514","photo":"https://0.academia-photos.com/274055/594249/72617992/s65_solange.ayache.jpg"}</script></span></span></li><li class="js-paper-rank-work_13919579 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13919579"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13919579, container: ".js-paper-rank-work_13919579", }); 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Le rapport à la langue et à la figure du barbare, paradigme de l’Autre, engage une réflexion sur la question des minorités, la voix de l’étranger et l’idée d’une réversibilité des postures. Barbarismes, irrégularités syntaxiques, « babélisation » font ici violence au langage ainsi qu’aux différentes langues parlées dans la pièce qui s’altèrent et se barbarisent à l’image des personnages, incarnant ainsi dans la chair du verbe la mutilation de la langue qui fait la matière cruelle du mythe. Au cœur de la pièce, elle-même réécriture d’une autre pièce – celle, perdue, du Térée de Sophocle – on retrouve en effet l’écriture d’une autre scène – celle, tabou, du viol et de l’amputation de la langue de Philomèle – qui, à défaut de pouvoir se dire, vient s’écrire sur la tapisserie que brode la jeune fille à l’attention de sa sœur pour révéler le crime étouffé par les mensonges en cascades de Térée en même temps qu’elle se reflète dans la trituration du langage. Cet article s’intéressera donc aux enjeux de la réécriture en tant que mise en place d’une alternative fondamentale à partir d’une perspective neuve – celle du barbare amoureux, ou plutôt de la barbarie de l’amour impossible – qui se reflète dans le motif intradiégétique de l’activité de tissage en tant qu’écriture de « l’Autre » (réécriture par l’Autre, la femme, de l’autre scène ou de l’autre pièce, qui ne peut être dite). Avec la duplicité intrinsèque du langage et l’exploration de son potentiel de transformation, nous verrons dès lors comment l’altérité se donne plutôt à voir comme altération, voire aliénation, jusqu’au creux de la langue où elle prend naissance pour la faire délirer (Deleuze). Le langage de la pièce reflète ainsi la façon dont l’humain vient faire trace dans la langue du barbare et montre comment, par-delà l’humanisation du Thrace, la barbarie vient à son tour réinvestir l’humain et marquer de son empreinte l’acte et le langage d’amour devenus viols. En déroulant à l’extrême le fil ténu qui sépare humanité et barbarie, les expérimentations poétiques de Laurens, où le langage et « l’autre » du langage se rencontrent dans leurs contradictions-mêmes, permettent ainsi de renouveler le sens du mythe grec autant que le langage dramatique sur la scène théâtrale à l’aube du vingt-et-unième siècle.\r\n\r\n--\r\n\r\nJoanna Laurens’ first play The Three Birds (2000) is a retelling of the Greek myth of Philomela in which language undergoes a poetic treatment unprecedented on the contemporary British stage. Mirroring and enacting the characters’ evolution from innocence to barbarism, language is distorted and altered to an extreme through a creative process involving word coinage (i.e. barbarisms), syntactic irregularities, and ‘babelisation,’ thus bringing out and performing the violence of the myth. Departing from Ovid’s poem which is itself a reworking of the original fable, as well as from the feminist takes on the story during the second half of the twentieth century, Laurens’ dramatic writing offers a new approach to the language and figure of the Barbarian, a traditional paradigm of the Other. She addresses such issues as the oppression of minorities, the voice of the stranger, and the reversibility of ethical positions by providing a reflection on the intrinsic duplicity of language itself and by exploring its potential for ‘metamorphosis’ and manipulation, thus presenting otherness as alienation. At the core of the play, which is a rewriting of another (lost) tragedy – that of Sophocles’ Tereus –, are Tereus’ lies, which are a rewriting of another (taboo) story – that of Philomela’s rape and amputated tongue. Although it can’t be verbally expressed by the young woman, this traumatic episode is nonetheless revealed through a tapestry she weaves for her sister Procné to denounce the crime of the lying husband, the needlework compensating her lost voice. This article thus looks at the issues at stake in Laurens’ rewriting, which can be read as the Other of the Greek myth and its famous feminist interpretations. Not only does her play propose an alternative which stems from an unusual, profoundly humane perspective – the suffering of a man whose love is thwarted – but this reversal is also mirrored in the intradiegetic motif of the tapestry as a writing of the Other (the scene behind the scenes, unheard of) by the Other (the abused, silenced woman). I propose to study how the Other comes to be inscribed at the core of language where it takes shape, rendering it delirious (Deleuze), as humanity can be traced in the Barbarian and barbarism can in turn affect humanity beyond the figure of the Thracian. As the act and language of love are turned into linguistic abuse and physical rape, Laurens’ formal experimentations, where language and the Other of language meet at the crossroad of their own contradictions, allow for a renewal in the meaning of the Greek myth as well as in the dramatic language on the British stage at the start of the twenty-first century.","downloadable_attachments":[{"id":84690982,"asset_id":13919579,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":274055,"first_name":"Solange","last_name":"Ayache","domain_name":"sorbonne-universite","page_name":"SolangeAyache","display_name":"Solange Ayache","profile_url":"https://sorbonne-universite.academia.edu/SolangeAyache?f_ri=15514","photo":"https://0.academia-photos.com/274055/594249/72617992/s65_solange.ayache.jpg"}],"research_interests":[{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=15514","nofollow":true},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=15514","nofollow":true},{"id":788,"name":"Mythology","url":"https://www.academia.edu/Documents/in/Mythology?f_ri=15514","nofollow":true},{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=15514","nofollow":true},{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=15514"},{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=15514"},{"id":3381,"name":"Contemporary British Theatre","url":"https://www.academia.edu/Documents/in/Contemporary_British_Theatre?f_ri=15514"},{"id":3581,"name":"Poetry","url":"https://www.academia.edu/Documents/in/Poetry?f_ri=15514"},{"id":6106,"name":"Trauma Studies","url":"https://www.academia.edu/Documents/in/Trauma_Studies?f_ri=15514"},{"id":9396,"name":"Contemporary Drama","url":"https://www.academia.edu/Documents/in/Contemporary_Drama?f_ri=15514"},{"id":14067,"name":"Literature and Visual Arts","url":"https://www.academia.edu/Documents/in/Literature_and_Visual_Arts?f_ri=15514"},{"id":14567,"name":"Contemporary British Literature","url":"https://www.academia.edu/Documents/in/Contemporary_British_Literature?f_ri=15514"},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514"},{"id":16461,"name":"Psychoanalysis And Literature","url":"https://www.academia.edu/Documents/in/Psychoanalysis_And_Literature?f_ri=15514"},{"id":19335,"name":"Ancient myth and religion","url":"https://www.academia.edu/Documents/in/Ancient_myth_and_religion?f_ri=15514"},{"id":19694,"name":"Greek Myth","url":"https://www.academia.edu/Documents/in/Greek_Myth?f_ri=15514"},{"id":22275,"name":"Literature and Trauma","url":"https://www.academia.edu/Documents/in/Literature_and_Trauma?f_ri=15514"},{"id":29108,"name":"Feminist Literary Theory and Gender Studies","url":"https://www.academia.edu/Documents/in/Feminist_Literary_Theory_and_Gender_Studies?f_ri=15514"},{"id":31319,"name":"20th century Avant-Garde","url":"https://www.academia.edu/Documents/in/20th_century_Avant-Garde?f_ri=15514"},{"id":33110,"name":"20th Century British Literature","url":"https://www.academia.edu/Documents/in/20th_Century_British_Literature?f_ri=15514"},{"id":36699,"name":"Psychoanalysis and art","url":"https://www.academia.edu/Documents/in/Psychoanalysis_and_art?f_ri=15514"},{"id":49234,"name":"Contemporary Theatre","url":"https://www.academia.edu/Documents/in/Contemporary_Theatre?f_ri=15514"},{"id":56281,"name":"English language and literature","url":"https://www.academia.edu/Documents/in/English_language_and_literature?f_ri=15514"},{"id":129192,"name":"British theatre","url":"https://www.academia.edu/Documents/in/British_theatre?f_ri=15514"},{"id":149217,"name":"Contemporary British Drama","url":"https://www.academia.edu/Documents/in/Contemporary_British_Drama?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_57366362" data-work_id="57366362" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/57366362/Accessing_Blue_in_Maggie_Nelsons_Bluets">Accessing Blue in Maggie Nelson's Bluets</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Creative Commons Attribution 4.0 (CC BY 4.0) CAPACIOUS YORK UNIVERSITY Margaryta Golovchenko How can one simultaneously desire and fear a color? Moreover, how can this color function as an affect in a text that is completely devoid of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_57366362" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Creative Commons Attribution 4.0 (CC BY 4.0) CAPACIOUS YORK UNIVERSITY Margaryta Golovchenko How can one simultaneously desire and fear a color? Moreover, how can this color function as an affect in a text that is completely devoid of images? These questions are central to Maggie Nelson's 2009 hybrid book Bluets, which focuses on tracing her relationship with and search for the color blue both physically and emotionally. Blue's function as an affect in Bluets proves just as ambivalent as the role it plays in Nelson's life, its significance twofold: for Nelson herself, as well as for its ability to entice the reader, who experiences the entirety of blue's multifaceted nature secondhand through Nelson's autotheoretical narrative. Bluets is thus a visually non-visual text, one that, perhaps problematically, decenters the idea that we need to physically see something in order to be affected by it. Nelson takes on the challenge of transmitting the affect of blue using words instead of images, a challenge that she does not quite live up to. This is due, in part, to the potential familiarity that readers may have with the few works of art that Nelson references, and even if that is not the case, the temptation to look them up online to correlate text and image looms over the text of Bluets. By relying only on vague descriptions of blue objects, spaces, and artworks, Nelson's text reveals that blue is not merely an attribute of a physical object. Rather, blue also exists as a dematerialized entity, capable of invoking adoration and repulsion in equal measure.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/57366362" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a236a91f6f619192a84433670dbd58d1" rel="nofollow" data-download="{"attachment_id":72304242,"asset_id":57366362,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/72304242/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="42504683" href="https://uoregon.academia.edu/MargarytaGolovchenko">Margaryta Golovchenko</a><script data-card-contents-for-user="42504683" type="text/json">{"id":42504683,"first_name":"Margaryta","last_name":"Golovchenko","domain_name":"uoregon","page_name":"MargarytaGolovchenko","display_name":"Margaryta Golovchenko","profile_url":"https://uoregon.academia.edu/MargarytaGolovchenko?f_ri=15514","photo":"https://0.academia-photos.com/42504683/18014435/137153476/s65_margaryta.golovchenko.jpg"}</script></span></span></li><li class="js-paper-rank-work_57366362 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="57366362"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 57366362, container: ".js-paper-rank-work_57366362", }); 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$(".js-view-count[data-work-id=57366362]").text(description); $(".js-view-count-work_57366362").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_57366362").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="57366362"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10776" rel="nofollow" href="https://www.academia.edu/Documents/in/Colour_Theory">Colour Theory</a>, <script data-card-contents-for-ri="10776" type="text/json">{"id":10776,"name":"Colour Theory","url":"https://www.academia.edu/Documents/in/Colour_Theory?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17330" rel="nofollow" href="https://www.academia.edu/Documents/in/Affect_Theory">Affect Theory</a><script data-card-contents-for-ri="17330" type="text/json">{"id":17330,"name":"Affect Theory","url":"https://www.academia.edu/Documents/in/Affect_Theory?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=57366362]'), work: {"id":57366362,"title":"Accessing Blue in Maggie Nelson's Bluets","created_at":"2021-10-12T12:27:56.831-07:00","url":"https://www.academia.edu/57366362/Accessing_Blue_in_Maggie_Nelsons_Bluets?f_ri=15514","dom_id":"work_57366362","summary":"Creative Commons Attribution 4.0 (CC BY 4.0) CAPACIOUS YORK UNIVERSITY Margaryta Golovchenko How can one simultaneously desire and fear a color? Moreover, how can this color function as an affect in a text that is completely devoid of images? These questions are central to Maggie Nelson's 2009 hybrid book Bluets, which focuses on tracing her relationship with and search for the color blue both physically and emotionally. Blue's function as an affect in Bluets proves just as ambivalent as the role it plays in Nelson's life, its significance twofold: for Nelson herself, as well as for its ability to entice the reader, who experiences the entirety of blue's multifaceted nature secondhand through Nelson's autotheoretical narrative. Bluets is thus a visually non-visual text, one that, perhaps problematically, decenters the idea that we need to physically see something in order to be affected by it. Nelson takes on the challenge of transmitting the affect of blue using words instead of images, a challenge that she does not quite live up to. This is due, in part, to the potential familiarity that readers may have with the few works of art that Nelson references, and even if that is not the case, the temptation to look them up online to correlate text and image looms over the text of Bluets. By relying only on vague descriptions of blue objects, spaces, and artworks, Nelson's text reveals that blue is not merely an attribute of a physical object. Rather, blue also exists as a dematerialized entity, capable of invoking adoration and repulsion in equal measure.","downloadable_attachments":[{"id":72304242,"asset_id":57366362,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":42504683,"first_name":"Margaryta","last_name":"Golovchenko","domain_name":"uoregon","page_name":"MargarytaGolovchenko","display_name":"Margaryta Golovchenko","profile_url":"https://uoregon.academia.edu/MargarytaGolovchenko?f_ri=15514","photo":"https://0.academia-photos.com/42504683/18014435/137153476/s65_margaryta.golovchenko.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15514","nofollow":true},{"id":10776,"name":"Colour Theory","url":"https://www.academia.edu/Documents/in/Colour_Theory?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":17330,"name":"Affect Theory","url":"https://www.academia.edu/Documents/in/Affect_Theory?f_ri=15514","nofollow":true},{"id":27903,"name":"Affect (Cultural Theory)","url":"https://www.academia.edu/Documents/in/Affect_Cultural_Theory_?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_77487232" data-work_id="77487232" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/77487232/Dissonances_musicales_et_cognitives_dans_Three_Women_and_a_Piano_Tuner_de_Helen_Cooper">Dissonances musicales et cognitives dans Three Women and a Piano Tuner de Helen Cooper</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Ce travail s’intéresse à la poétique de la dissociation mise en œuvre par Helen Cooper dans sa pièce Three Women and a Piano Tuner (2004). Réunies pour mettre en commun leurs talents respectifs de compositrice, pianiste et productrice... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_77487232" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ce travail s’intéresse à la poétique de la dissociation mise en œuvre par Helen Cooper dans sa pièce Three Women and a Piano Tuner (2004). Réunies pour mettre en commun leurs talents respectifs de compositrice, pianiste et productrice autour d’un projet de concert, les trois femmes de la pièce font émerger à la surface un trauma enfoui : en constant désaccord, Ella (figure de la mère), Liz (figure de l’amazone), et Beth (figure de la prostituée) matérialisent en réalité trois versions possibles du personnage unique mais intimement divisé d’Elisabeth, dont le fils possible est accordeur de piano. Dans cette pièce marquée par la prolifération du même – non pas idem, mais ipse – comme figure du clivage, où la métaphore musicale sert à évoquer le phénomène de dissonance cognitive, chacune incarne un mécanisme de défense spécifique en réaction à l’inceste subi à l’adolescence par la protagoniste. A la minimisation (Ella), au refoulement (Beth) et à l’exagération (Liz), s’articulent ainsi trois chemins de vie éventuels ou fantasmés mis en dialogue. Cette concurrence permet de dramatiser un conflit intérieur en quête de résolution, en mettant en scène les forces psychiques contradictoires, conscientes et inconscientes, qui animent ce personnage féminin, dont le choix ultime entre plusieurs options – garder l’enfant de l’inceste, le donner à adopter ou bien avorter – semble simultanément avoir déjà été fait et se reporter à l’infini. C’est autour de cette décision laissée hors du temps, qui se cristallise en creux sur la figure du fils reléguée en arrière-plan, dans l’espace du hors-scène, alors qu’il travaille sur l’instrument désaccordé, que s’élaborent les versions multiples du drame originel et d’un personnage féminin dissocié qui vise sa propre réconciliation. Redonnant symboliquement voix à un drame passé sous silence, le seul personnage masculin de la pièce illustre, par son travail, le patient processus de réparation du trauma, alors même que son existence à lui se révèle incertaine, terriblement « optionnelle ». Figure de hantise, l’accordeur de piano apparaît donc comme le maillon central qui à la fois œuvre à cette intime harmonie et l’empêche, invitant par ailleurs à réfléchir sur le processus d’écriture dramatique et le statut du personnage de théâtre, toujours en attente d’incarnation, jamais pleinement actualisé, suspendu entre la page et la scène. La métaphore musicale qui parcourt la pièce, depuis la présence en filigrane de l’accordeur jusqu’à la scène finale du concert, permet ainsi de travailler la figure du rhapsode conceptualisée par Jean-Pierre Sarrazac, qui traduit ici le travail de réintégration psychologique du Réel dans l’ordre Symbolique (Lacan). À la fin de la pièce, l’apparition de Harold, qui répète les gestes d’un père incestueux qu’il n’a pas connu, offre la vision d’un mimétisme impossible : cette coïncidence signifiante, ou « synchronicité » (Jung), évoque la dimension transgénérationnelle du trauma et laisse présager le retour du même. Elle renouvelle ainsi le sens du tragique sur la scène contemporaine en ouvrant l’espace du doute, des probabilités et du malaise. Dès lors, l’incertitude se donne comme la modalité ultime d’un réalisme traumatique de la scène qui, en interrogeant la vérité impossible du sujet, relocalise le drame de l’humain dans l’indéterminé, ce dont l’accordeur de piano, œuvrant dans l’ombre des dissonances, se fait l’image.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/77487232" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4a5bdf9f68cdc5a1afa47dc066e828a3" rel="nofollow" data-download="{"attachment_id":84811176,"asset_id":77487232,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84811176/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="274055" href="https://sorbonne-universite.academia.edu/SolangeAyache">Solange Ayache</a><script data-card-contents-for-user="274055" type="text/json">{"id":274055,"first_name":"Solange","last_name":"Ayache","domain_name":"sorbonne-universite","page_name":"SolangeAyache","display_name":"Solange Ayache","profile_url":"https://sorbonne-universite.academia.edu/SolangeAyache?f_ri=15514","photo":"https://0.academia-photos.com/274055/594249/72617992/s65_solange.ayache.jpg"}</script></span></span></li><li class="js-paper-rank-work_77487232 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="77487232"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 77487232, container: ".js-paper-rank-work_77487232", }); 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$(".js-view-count[data-work-id=77487232]").text(description); $(".js-view-count-work_77487232").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_77487232").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="77487232"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="15" rel="nofollow" href="https://www.academia.edu/Documents/in/British_Literature">British Literature</a>, <script data-card-contents-for-ri="15" type="text/json">{"id":15,"name":"British Literature","url":"https://www.academia.edu/Documents/in/British_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="221" rel="nofollow" href="https://www.academia.edu/Documents/in/Psychology">Psychology</a>, <script data-card-contents-for-ri="221" type="text/json">{"id":221,"name":"Psychology","url":"https://www.academia.edu/Documents/in/Psychology?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="244" rel="nofollow" href="https://www.academia.edu/Documents/in/Psychoanalysis">Psychoanalysis</a>, <script data-card-contents-for-ri="244" type="text/json">{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="696" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a><script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=77487232]'), work: {"id":77487232,"title":"Dissonances musicales et cognitives dans Three Women and a Piano Tuner de Helen Cooper","created_at":"2022-04-24T14:03:48.692-07:00","url":"https://www.academia.edu/77487232/Dissonances_musicales_et_cognitives_dans_Three_Women_and_a_Piano_Tuner_de_Helen_Cooper?f_ri=15514","dom_id":"work_77487232","summary":"Ce travail s’intéresse à la poétique de la dissociation mise en œuvre par Helen Cooper dans sa pièce Three Women and a Piano Tuner (2004). Réunies pour mettre en commun leurs talents respectifs de compositrice, pianiste et productrice autour d’un projet de concert, les trois femmes de la pièce font émerger à la surface un trauma enfoui : en constant désaccord, Ella (figure de la mère), Liz (figure de l’amazone), et Beth (figure de la prostituée) matérialisent en réalité trois versions possibles du personnage unique mais intimement divisé d’Elisabeth, dont le fils possible est accordeur de piano. Dans cette pièce marquée par la prolifération du même – non pas idem, mais ipse – comme figure du clivage, où la métaphore musicale sert à évoquer le phénomène de dissonance cognitive, chacune incarne un mécanisme de défense spécifique en réaction à l’inceste subi à l’adolescence par la protagoniste. A la minimisation (Ella), au refoulement (Beth) et à l’exagération (Liz), s’articulent ainsi trois chemins de vie éventuels ou fantasmés mis en dialogue. Cette concurrence permet de dramatiser un conflit intérieur en quête de résolution, en mettant en scène les forces psychiques contradictoires, conscientes et inconscientes, qui animent ce personnage féminin, dont le choix ultime entre plusieurs options – garder l’enfant de l’inceste, le donner à adopter ou bien avorter – semble simultanément avoir déjà été fait et se reporter à l’infini. C’est autour de cette décision laissée hors du temps, qui se cristallise en creux sur la figure du fils reléguée en arrière-plan, dans l’espace du hors-scène, alors qu’il travaille sur l’instrument désaccordé, que s’élaborent les versions multiples du drame originel et d’un personnage féminin dissocié qui vise sa propre réconciliation. Redonnant symboliquement voix à un drame passé sous silence, le seul personnage masculin de la pièce illustre, par son travail, le patient processus de réparation du trauma, alors même que son existence à lui se révèle incertaine, terriblement « optionnelle ». Figure de hantise, l’accordeur de piano apparaît donc comme le maillon central qui à la fois œuvre à cette intime harmonie et l’empêche, invitant par ailleurs à réfléchir sur le processus d’écriture dramatique et le statut du personnage de théâtre, toujours en attente d’incarnation, jamais pleinement actualisé, suspendu entre la page et la scène. La métaphore musicale qui parcourt la pièce, depuis la présence en filigrane de l’accordeur jusqu’à la scène finale du concert, permet ainsi de travailler la figure du rhapsode conceptualisée par Jean-Pierre Sarrazac, qui traduit ici le travail de réintégration psychologique du Réel dans l’ordre Symbolique (Lacan). À la fin de la pièce, l’apparition de Harold, qui répète les gestes d’un père incestueux qu’il n’a pas connu, offre la vision d’un mimétisme impossible : cette coïncidence signifiante, ou « synchronicité » (Jung), évoque la dimension transgénérationnelle du trauma et laisse présager le retour du même. Elle renouvelle ainsi le sens du tragique sur la scène contemporaine en ouvrant l’espace du doute, des probabilités et du malaise. Dès lors, l’incertitude se donne comme la modalité ultime d’un réalisme traumatique de la scène qui, en interrogeant la vérité impossible du sujet, relocalise le drame de l’humain dans l’indéterminé, ce dont l’accordeur de piano, œuvrant dans l’ombre des dissonances, se fait l’image.","downloadable_attachments":[{"id":84811176,"asset_id":77487232,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":274055,"first_name":"Solange","last_name":"Ayache","domain_name":"sorbonne-universite","page_name":"SolangeAyache","display_name":"Solange Ayache","profile_url":"https://sorbonne-universite.academia.edu/SolangeAyache?f_ri=15514","photo":"https://0.academia-photos.com/274055/594249/72617992/s65_solange.ayache.jpg"}],"research_interests":[{"id":15,"name":"British Literature","url":"https://www.academia.edu/Documents/in/British_Literature?f_ri=15514","nofollow":true},{"id":221,"name":"Psychology","url":"https://www.academia.edu/Documents/in/Psychology?f_ri=15514","nofollow":true},{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=15514","nofollow":true},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=15514","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=15514"},{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=15514"},{"id":2521,"name":"Dramatic Literature","url":"https://www.academia.edu/Documents/in/Dramatic_Literature?f_ri=15514"},{"id":6557,"name":"Medical Humanities","url":"https://www.academia.edu/Documents/in/Medical_Humanities?f_ri=15514"},{"id":9396,"name":"Contemporary Drama","url":"https://www.academia.edu/Documents/in/Contemporary_Drama?f_ri=15514"},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514"},{"id":16461,"name":"Psychoanalysis And Literature","url":"https://www.academia.edu/Documents/in/Psychoanalysis_And_Literature?f_ri=15514"},{"id":20295,"name":"Freud and Feminist Psychoanalysis","url":"https://www.academia.edu/Documents/in/Freud_and_Feminist_Psychoanalysis?f_ri=15514"},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=15514"},{"id":29108,"name":"Feminist Literary Theory and Gender Studies","url":"https://www.academia.edu/Documents/in/Feminist_Literary_Theory_and_Gender_Studies?f_ri=15514"},{"id":149217,"name":"Contemporary British Drama","url":"https://www.academia.edu/Documents/in/Contemporary_British_Drama?f_ri=15514"},{"id":302074,"name":"Drama and theatre studies","url":"https://www.academia.edu/Documents/in/Drama_and_theatre_studies-1?f_ri=15514"},{"id":427480,"name":"Dramatic Theory and Criticism","url":"https://www.academia.edu/Documents/in/Dramatic_Theory_and_Criticism?f_ri=15514"},{"id":509085,"name":"Health Humanities","url":"https://www.academia.edu/Documents/in/Health_Humanities?f_ri=15514"},{"id":1201870,"name":"Womens Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies-2?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3657921" data-work_id="3657921" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3657921/Fervores_y_efervescencias_Am%C3%A9lie_Nothomb_">Fervores y efervescencias (Amélie Nothomb)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Biografía del hambre Trad. de Sergi Pàmies Anagrama, Barcelona 168 pp. 15 €</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3657921" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="20699d05a6b4d181f22076aa1ddf8f19" rel="nofollow" data-download="{"attachment_id":31357245,"asset_id":3657921,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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Gamoneda","profile_url":"https://usal.academia.edu/AmeliaGamonedaLanza?f_ri=15514","photo":"https://0.academia-photos.com/4036346/2718778/3166153/s65_amelia.gamoneda_lanza.jpg"}</script></span></span></li><li class="js-paper-rank-work_3657921 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3657921"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3657921, container: ".js-paper-rank-work_3657921", }); });</script></li><li class="js-percentile-work_3657921 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3657921; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_3657921"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_3657921 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="3657921"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3657921; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3657921]").text(description); $(".js-view-count-work_3657921").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3657921").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3657921"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="660" rel="nofollow" href="https://www.academia.edu/Documents/in/French_Literature">French Literature</a>, <script data-card-contents-for-ri="660" type="text/json">{"id":660,"name":"French Literature","url":"https://www.academia.edu/Documents/in/French_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15714" rel="nofollow" href="https://www.academia.edu/Documents/in/20th_Century_French_Literature">20th Century French Literature</a>, <script data-card-contents-for-ri="15714" type="text/json">{"id":15714,"name":"20th Century French Literature","url":"https://www.academia.edu/Documents/in/20th_Century_French_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="110127" rel="nofollow" href="https://www.academia.edu/Documents/in/Am%C3%A9lie_Nothomb">Amélie Nothomb</a><script data-card-contents-for-ri="110127" type="text/json">{"id":110127,"name":"Amélie Nothomb","url":"https://www.academia.edu/Documents/in/Am%C3%A9lie_Nothomb?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3657921]'), work: {"id":3657921,"title":"Fervores y efervescencias (Amélie Nothomb)","created_at":"2013-06-05T02:39:52.637-07:00","url":"https://www.academia.edu/3657921/Fervores_y_efervescencias_Am%C3%A9lie_Nothomb_?f_ri=15514","dom_id":"work_3657921","summary":"Biografía del hambre Trad. de Sergi Pàmies Anagrama, Barcelona 168 pp. 15 €","downloadable_attachments":[{"id":31357245,"asset_id":3657921,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4036346,"first_name":"Amelia","last_name":"Gamoneda","domain_name":"usal","page_name":"AmeliaGamonedaLanza","display_name":"Amelia Gamoneda","profile_url":"https://usal.academia.edu/AmeliaGamonedaLanza?f_ri=15514","photo":"https://0.academia-photos.com/4036346/2718778/3166153/s65_amelia.gamoneda_lanza.jpg"}],"research_interests":[{"id":660,"name":"French 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"Harvest"</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37926400" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cc5c3138bae9f5c8a1511917fa62251c" rel="nofollow" data-download="{"attachment_id":57938618,"asset_id":37926400,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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js-work-card work_22487211" data-work_id="22487211" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/22487211/Sguardi_dallopaco_Saggi_su_Calvino_e_la_visibilit%C3%A0">Sguardi dall'opaco. Saggi su Calvino e la visibilità</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Il modo di guardare il mondo sembra segnato per Calvino da un orientamento archetipico derivato dalla prospettiva della visione della casa della sua infanzia, arroccata sulle colline liguri e protesa sul mare. Gli occhi che scrutano... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_22487211" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Il modo di guardare il mondo sembra segnato per Calvino da un orientamento archetipico derivato dalla prospettiva della visione della casa della sua infanzia, arroccata sulle colline liguri e protesa sul mare. Gli occhi che scrutano l'universo nelle sue pagine conservano tracce profonde di questa originaria esperienza visiva e sono rivolti secondo una direzione precisa, per cui lo spazio in ombra (l'opaco) si trova alle spalle e quello illuminato dal sole (l'aprico) di fronte. La linea che separa il regno dell'ombra da quello della luce non è però così netta e invalicabile e opaco ed aprico si confondono e capovolgono continuamente, intersecando in tal modo i confini fra io e mondo, interno ed esterno, dentro e fuori.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22487211" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2670018" href="https://unict.academia.edu/MariaRizzarelli">Maria Rizzarelli</a><script data-card-contents-for-user="2670018" type="text/json">{"id":2670018,"first_name":"Maria","last_name":"Rizzarelli","domain_name":"unict","page_name":"MariaRizzarelli","display_name":"Maria Rizzarelli","profile_url":"https://unict.academia.edu/MariaRizzarelli?f_ri=15514","photo":"https://0.academia-photos.com/2670018/852604/1062028/s65_maria.rizzarelli.jpg"}</script></span></span></li><li class="js-paper-rank-work_22487211 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22487211"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22487211, container: ".js-paper-rank-work_22487211", }); 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Saggi su Calvino e la visibilità","created_at":"2016-02-26T11:20:38.944-08:00","url":"https://www.academia.edu/22487211/Sguardi_dallopaco_Saggi_su_Calvino_e_la_visibilit%C3%A0?f_ri=15514","dom_id":"work_22487211","summary":"Il modo di guardare il mondo sembra segnato per Calvino da un orientamento archetipico derivato dalla prospettiva della visione della casa della sua infanzia, arroccata sulle colline liguri e protesa sul mare. Gli occhi che scrutano l'universo nelle sue pagine conservano tracce profonde di questa originaria esperienza visiva e sono rivolti secondo una direzione precisa, per cui lo spazio in ombra (l'opaco) si trova alle spalle e quello illuminato dal sole (l'aprico) di fronte. La linea che separa il regno dell'ombra da quello della luce non è però così netta e invalicabile e opaco ed aprico si confondono e capovolgono continuamente, intersecando in tal modo i confini fra io e mondo, interno ed esterno, dentro e fuori.","downloadable_attachments":[],"ordered_authors":[{"id":2670018,"first_name":"Maria","last_name":"Rizzarelli","domain_name":"unict","page_name":"MariaRizzarelli","display_name":"Maria Rizzarelli","profile_url":"https://unict.academia.edu/MariaRizzarelli?f_ri=15514","photo":"https://0.academia-photos.com/2670018/852604/1062028/s65_maria.rizzarelli.jpg"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=15514","nofollow":true},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=15514","nofollow":true},{"id":2221,"name":"Italian Studies","url":"https://www.academia.edu/Documents/in/Italian_Studies?f_ri=15514","nofollow":true},{"id":3145,"name":"Literature and cinema","url":"https://www.academia.edu/Documents/in/Literature_and_cinema?f_ri=15514","nofollow":true},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=15514"},{"id":7887,"name":"Italian Literature","url":"https://www.academia.edu/Documents/in/Italian_Literature?f_ri=15514"},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514"},{"id":25133,"name":"Italo Calvino","url":"https://www.academia.edu/Documents/in/Italo_Calvino?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44867749" data-work_id="44867749" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44867749/Chinese_Singaporeans_Generational_Conflict_in_Catherine_Lim_s_Monster_">Chinese Singaporeans’ Generational Conflict in Catherine Lim’s “Monster”</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In Catherine Lim’s short story “Monster” from her collection Little Ironies: Stories of Singapore, the grandmother’s bed is the monster. The old-fashioned wooden carved bed, along with her other possessions, causes more than an eyesore to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44867749" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In Catherine Lim’s short story “Monster” from her collection Little Ironies: Stories of Singapore, the grandmother’s bed is the monster. The old-fashioned wooden carved bed, along with her other possessions, causes more than an eyesore to the daughter-in-law, who is determined to get rid of it. The situation represents the conflicts between older and younger generations in Chinese Singaporean society. The story examines how values have changed or been challenged through time and how Singapore, a former British colony, is influenced by the western world. Although the story’s main focus is the generational clash and the change of values, there are some traditional values that still persist in later generations.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44867749" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e4ee16daf331981127903d1fd4b800db" rel="nofollow" data-download="{"attachment_id":65379482,"asset_id":44867749,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65379482/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="166519381" href="https://chula.academia.edu/PopkamolBoonyapalanan">Popkamol Boonyapalanan</a><script data-card-contents-for-user="166519381" type="text/json">{"id":166519381,"first_name":"Popkamol","last_name":"Boonyapalanan","domain_name":"chula","page_name":"PopkamolBoonyapalanan","display_name":"Popkamol Boonyapalanan","profile_url":"https://chula.academia.edu/PopkamolBoonyapalanan?f_ri=15514","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_44867749 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44867749"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44867749, container: ".js-paper-rank-work_44867749", }); 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The old-fashioned wooden carved bed, along with her other possessions, causes more than an eyesore to the daughter-in-law, who is determined to get rid of it. The situation represents the conflicts between older and younger generations in Chinese Singaporean society. The story examines how values have changed or been challenged through time and how Singapore, a former British colony, is influenced by the western world. Although the story’s main focus is the generational clash and the change of values, there are some traditional values that still persist in later generations.","downloadable_attachments":[{"id":65379482,"asset_id":44867749,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":166519381,"first_name":"Popkamol","last_name":"Boonyapalanan","domain_name":"chula","page_name":"PopkamolBoonyapalanan","display_name":"Popkamol Boonyapalanan","profile_url":"https://chula.academia.edu/PopkamolBoonyapalanan?f_ri=15514","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":1031,"name":"Southeast Asian Studies","url":"https://www.academia.edu/Documents/in/Southeast_Asian_Studies?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25446352" data-work_id="25446352" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25446352/Th%C3%A9%C3%A2tres_de_lespace_mental_maladies_et_troubles_psychiatriques_sur_la_sc%C3%A8ne_contemporaine">Théâtres de l'espace mental : maladies et troubles psychiatriques sur la scène contemporaine</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Depuis quelques décennies, les théâtres du traumatisme et de la maladie mentale donnent une visibilité de plus en plus accrue à la souffrance psychologique et au trouble psychiatrique sur la scène contemporaine. Dans cette mouvance, un... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25446352" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Depuis quelques décennies, les théâtres du traumatisme et de la maladie mentale donnent une visibilité de plus en plus accrue à la souffrance psychologique et au trouble psychiatrique sur la scène contemporaine. Dans cette mouvance, un certain nombre de pièces de nature souvent expérimentale insèrent des thèmes, des références et des matériaux issus du domaine de la santé mentale dans les multiples formes qu'elle prend aujourd'hui pour donner la parole à une psyché en détresse – celle, le plus souvent, de personnages féminins. Qu'il s'agisse de psychiatrie, de psychologie clinique, de psychanalyse ou encore de psychothérapie, on trouve ainsi dans des pièces récentes de la scène européenne une assimilation des discours de la médecine et des sciences cognitives. Ces théâtres offrent ainsi une réflexion sur les traumatismes psychologiques et les difficultés existentielles du sujet féminin malade, dont le corps s'efface et dont la voix fragile s'élève sur scène pour dire le drame intérieur de l'errance mentale et/ou du trouble psychique, voire de la pathologie identifiée. Le présent article propose une étude des diverses approches de la maladie mentale et des troubles post-traumatiques adoptées par quatre auteurs contemporains de la scène européenne : les auteurs britanniques Sarah Kane et Martin Crimp, l'homme de théâtre français Gildas Milin, et la dramaturge italienne Francesca Volchitza Cabrini. Les pièces de ces auteurs illustrent à différents niveaux et de différentes manières mais non sans points de convergence forts la façon dont des objets empruntés aux champs de la médecine et de la psychiatrie sont récupérés, dramatisés et mis en scène par le théâtre contemporain. L'originalité commune de ces écritures réside dans le fait qu'elles puisent toutes dans la littérature théorique ou clinique de la psychologie pour recycler des matériaux essentiellement verbaux issus du domaine de la santé mentale et les transformer en poésie de la scène. Cette « psychopoésie » dit la gravité du malaise qui hante l’individu en ce début du XXIème siècle, tout en explorant la nature et les limites de l’humain poussé dans des situations psychologiques extrêmes. Par contraste ou en dialogue avec les discours et les pratiques de la médecine, la psychopathologie devient ressource psychopoétique et se donne ainsi comme une matière qui renouvelle, dans leurs formes aussi bien que dans leurs contenus, le langage, l’écriture et la structure du drame contemporain.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25446352" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0c3469787b75650582bf9478244fa460" rel="nofollow" data-download="{"attachment_id":45763709,"asset_id":25446352,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45763709/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="274055" href="https://sorbonne-universite.academia.edu/SolangeAyache">Solange Ayache</a><script data-card-contents-for-user="274055" type="text/json">{"id":274055,"first_name":"Solange","last_name":"Ayache","domain_name":"sorbonne-universite","page_name":"SolangeAyache","display_name":"Solange Ayache","profile_url":"https://sorbonne-universite.academia.edu/SolangeAyache?f_ri=15514","photo":"https://0.academia-photos.com/274055/594249/72617992/s65_solange.ayache.jpg"}</script></span></span></li><li class="js-paper-rank-work_25446352 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25446352"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25446352, container: ".js-paper-rank-work_25446352", }); 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Dans cette mouvance, un certain nombre de pièces de nature souvent expérimentale insèrent des thèmes, des références et des matériaux issus du domaine de la santé mentale dans les multiples formes qu'elle prend aujourd'hui pour donner la parole à une psyché en détresse – celle, le plus souvent, de personnages féminins. Qu'il s'agisse de psychiatrie, de psychologie clinique, de psychanalyse ou encore de psychothérapie, on trouve ainsi dans des pièces récentes de la scène européenne une assimilation des discours de la médecine et des sciences cognitives. Ces théâtres offrent ainsi une réflexion sur les traumatismes psychologiques et les difficultés existentielles du sujet féminin malade, dont le corps s'efface et dont la voix fragile s'élève sur scène pour dire le drame intérieur de l'errance mentale et/ou du trouble psychique, voire de la pathologie identifiée. Le présent article propose une étude des diverses approches de la maladie mentale et des troubles post-traumatiques adoptées par quatre auteurs contemporains de la scène européenne : les auteurs britanniques Sarah Kane et Martin Crimp, l'homme de théâtre français Gildas Milin, et la dramaturge italienne Francesca Volchitza Cabrini. Les pièces de ces auteurs illustrent à différents niveaux et de différentes manières mais non sans points de convergence forts la façon dont des objets empruntés aux champs de la médecine et de la psychiatrie sont récupérés, dramatisés et mis en scène par le théâtre contemporain. L'originalité commune de ces écritures réside dans le fait qu'elles puisent toutes dans la littérature théorique ou clinique de la psychologie pour recycler des matériaux essentiellement verbaux issus du domaine de la santé mentale et les transformer en poésie de la scène. Cette « psychopoésie » dit la gravité du malaise qui hante l’individu en ce début du XXIème siècle, tout en explorant la nature et les limites de l’humain poussé dans des situations psychologiques extrêmes. Par contraste ou en dialogue avec les discours et les pratiques de la médecine, la psychopathologie devient ressource psychopoétique et se donne ainsi comme une matière qui renouvelle, dans leurs formes aussi bien que dans leurs contenus, le langage, l’écriture et la structure du drame contemporain.","downloadable_attachments":[{"id":45763709,"asset_id":25446352,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":274055,"first_name":"Solange","last_name":"Ayache","domain_name":"sorbonne-universite","page_name":"SolangeAyache","display_name":"Solange 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28889794/After_Lots_Daughters_Kathryn_Harrison_and_the_Making_of_Memory">After Lot's Daughters: Kathryn Harrison and the Making of Memory</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">a/b: Auto/Biography Studies <br />Volume 14, 1999 - Issue 1<br />EXTREMITIES: MEMOIRS AT THE FIN DE SIÈCLE</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28889794" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li 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Studies","url":"https://www.academia.edu/Documents/in/Trauma_Studies?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28889794]'), work: {"id":28889794,"title":"After Lot's Daughters: Kathryn Harrison and the Making of Memory","created_at":"2016-10-03T09:49:19.516-07:00","url":"https://www.academia.edu/28889794/After_Lots_Daughters_Kathryn_Harrison_and_the_Making_of_Memory?f_ri=15514","dom_id":"work_28889794","summary":"a/b: Auto/Biography Studies \nVolume 14, 1999 - Issue 1\nEXTREMITIES: MEMOIRS AT THE FIN DE SIÈCLE","downloadable_attachments":[{"id":50087381,"asset_id":28889794,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":53204198,"first_name":"Laura","last_name":"Frost","domain_name":"independent","page_name":"DrLauraFrost","display_name":"Laura Frost","profile_url":"https://independent.academia.edu/DrLauraFrost?f_ri=15514","photo":"https://0.academia-photos.com/53204198/14108459/15112419/s65_laura.frost.jpg"}],"research_interests":[{"id":10,"name":"American Literature","url":"https://www.academia.edu/Documents/in/American_Literature?f_ri=15514","nofollow":true},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=15514","nofollow":true},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=15514","nofollow":true},{"id":6106,"name":"Trauma Studies","url":"https://www.academia.edu/Documents/in/Trauma_Studies?f_ri=15514","nofollow":true},{"id":6185,"name":"Women's Literature","url":"https://www.academia.edu/Documents/in/Womens_Literature?f_ri=15514"},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514"},{"id":20985,"name":"Memoir and 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u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Un padre e una figlia, un rapporto tormentato e conflittuale. E anche un non rapporto. Un non capire un non capirsi. Finché, venuto il padre a mancare, lei scopre che era stato processato per banda armata. Prima condannato infine... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44830642" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Un padre e una figlia, un rapporto tormentato e conflittuale.<br /><br />E anche un non rapporto.<br /><br />Un non capire un non capirsi.<br /><br /><br />Finché, venuto il padre a mancare, lei scopre che era stato processato per banda armata.<br /><br />Prima condannato infine assolto.<br /><br /><br />E le si rivela un territorio sconosciuto, di cui intuiva solo in generale le idee di sinistra del genitore.<br /><br /><br />E il viaggio alla scoperta di questo padre sconosciuto, attraverso i racconti di chi lo conosceva, i documenti, i viaggi nei suoi luoghi.<br /><br /><br />E ne emerge una figura di uomo contraddittorio, profondamente umano e sociale, che nella politica e nella rivoluzione aveva creduto inverarsi questa umanità socievole.<br /><br />Ma della politica aveva scelto la parte più fredda e disumana.<br /><br />E vi stava con passione e dedizione ma con distacco e ironia e incredulità.<br /><br />Tutto assieme in un inestricabile groviglio.<br /><br /><br />E una vita segnata da episodi decisivi. Traumi.<br /><br />Un omicidio e un tentato omicidio vissuti in prima persona.<br /><br />La fuga in cerca d'aiuto.<br /><br />il sangue addosso.<br /><br />Le porte chiuse, le porte aperte.<br /><br />Il senso di colpa.<br /><br />Dovevo restare dovevo restare dovevo restare.<br /><br /><br />E il tentativo infine di arginare il riflusso.<br /><br />Ricominciare daccapo.<br /><br />Nuove idee nuove pratiche.<br /><br />Una nuova vita.<br /><br />Ma una vita segnata da un passato atroce, che spezza anche i nuovi legami.<br /><br /><br />La malattia, la sofferenza, la speranza, la morte.<br /><br /><br />E una figlia estranea al suo mondo cerca di capire idee sentimenti passioni ragioni<br /><br />di una stagione della nostra storia.<br /><br />Ma dall'esterno, dunque un po' meglio e un po' peggio.<br /><br /><br />Che la distanza rende lucidi ma estranei<br /><br />e permette e non permette di capire.<br /><br /><br />E di quegli anni resta in lei l'immagine di una ferocia dissennata<br /><br />violenza e morte e dissipazione insensata di esistenze.<br /><br /><br />E' che il percorso che lui ha seguito e che lei ha seguito sognava il comunismo<br /><br />ma l'ha solo sfiorato senza entrarci dentro.<br /><br /><br />Manca la gioia manca il desiderio manca la creatività manca la socialità empatica.<br /><br />Restano solo la violenza e la repressione e la lotta alla repressione.<br /><br />Nel percorso di lui e nella ricostruzione di lei.<br /><br /><br />E non si sa se è distorto il percorso o è distorta la ricostruzione.<br /><br /><br />E lei crede di trovare suo padre in un suo documento degli anni successivi<br /><br />dove teorizza nuove prospettive.<br /><br /><br />E forse lo trova.<br /><br /><br />Ma non trova il 77<br /><br />o lo trova e non lo riconosce<br /><br />in una lettera a Lotta Continua<br /><br />dove si dice<br /><br />Vogliamo la poesia.<br /><br /><br />Questo è il 77<br /><br />Volevamo la poesia<br /><br />anche se il mondo è terribile<br /><br />proprio perché il mondo è terribile.<br /><br /><br />Se cercate in questo libro lo spirito di quei tempi<br /><br />è qui che lo troverete.<br /><br /><br />Vogliamo la poesia.<br /><br /><br />Marta Barone. Città sommersa.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44830642" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6f65c58ff2c229cb1a4de826ce2c1134" rel="nofollow" data-download="{"attachment_id":65334375,"asset_id":44830642,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65334375/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="170925827" href="https://independent.academia.edu/MarcelloMoscatelli2">Marcello Moscatelli</a><script data-card-contents-for-user="170925827" type="text/json">{"id":170925827,"first_name":"Marcello","last_name":"Moscatelli","domain_name":"independent","page_name":"MarcelloMoscatelli2","display_name":"Marcello Moscatelli","profile_url":"https://independent.academia.edu/MarcelloMoscatelli2?f_ri=15514","photo":"https://0.academia-photos.com/170925827/47599253/36410813/s65_marcello.moscatelli.jpg"}</script></span></span></li><li class="js-paper-rank-work_44830642 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44830642"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44830642, container: ".js-paper-rank-work_44830642", }); 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$(".js-view-count[data-work-id=44830642]").text(description); $(".js-view-count-work_44830642").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44830642").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44830642"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="69388" rel="nofollow" href="https://www.academia.edu/Documents/in/Letteratura_italiana_moderna_e_contemporanea">Letteratura italiana moderna e contemporanea</a>, <script data-card-contents-for-ri="69388" type="text/json">{"id":69388,"name":"Letteratura italiana moderna e contemporanea","url":"https://www.academia.edu/Documents/in/Letteratura_italiana_moderna_e_contemporanea?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="106803" rel="nofollow" href="https://www.academia.edu/Documents/in/Letteratura">Letteratura</a>, <script data-card-contents-for-ri="106803" type="text/json">{"id":106803,"name":"Letteratura","url":"https://www.academia.edu/Documents/in/Letteratura?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="119973" rel="nofollow" href="https://www.academia.edu/Documents/in/Litt%C3%A9rature">Littérature</a><script data-card-contents-for-ri="119973" type="text/json">{"id":119973,"name":"Littérature","url":"https://www.academia.edu/Documents/in/Litt%C3%A9rature?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44830642]'), work: {"id":44830642,"title":"Città Sommersa - M Barone - Un Libro","created_at":"2021-01-04T03:42:27.802-08:00","url":"https://www.academia.edu/44830642/Citt%C3%A0_Sommersa_M_Barone_Un_Libro?f_ri=15514","dom_id":"work_44830642","summary":"Un padre e una figlia, un rapporto tormentato e conflittuale.\n\nE anche un non rapporto.\n\nUn non capire un non capirsi.\n\n\nFinché, venuto il padre a mancare, lei scopre che era stato processato per banda armata.\n\nPrima condannato infine assolto.\n\n\nE le si rivela un territorio sconosciuto, di cui intuiva solo in generale le idee di sinistra del genitore.\n\n\nE il viaggio alla scoperta di questo padre sconosciuto, attraverso i racconti di chi lo conosceva, i documenti, i viaggi nei suoi luoghi.\n\n\nE ne emerge una figura di uomo contraddittorio, profondamente umano e sociale, che nella politica e nella rivoluzione aveva creduto inverarsi questa umanità socievole.\n\nMa della politica aveva scelto la parte più fredda e disumana.\n\nE vi stava con passione e dedizione ma con distacco e ironia e incredulità.\n\nTutto assieme in un inestricabile groviglio.\n\n\nE una vita segnata da episodi decisivi. Traumi.\n\nUn omicidio e un tentato omicidio vissuti in prima persona.\n\nLa fuga in cerca d'aiuto.\n\nil sangue addosso.\n\nLe porte chiuse, le porte aperte.\n\nIl senso di colpa.\n\nDovevo restare dovevo restare dovevo restare.\n\n\nE il tentativo infine di arginare il riflusso.\n\nRicominciare daccapo.\n\nNuove idee nuove pratiche.\n\nUna nuova vita.\n\nMa una vita segnata da un passato atroce, che spezza anche i nuovi legami.\n\n\nLa malattia, la sofferenza, la speranza, la morte.\n\n\nE una figlia estranea al suo mondo cerca di capire idee sentimenti passioni ragioni\n\ndi una stagione della nostra storia.\n\nMa dall'esterno, dunque un po' meglio e un po' peggio.\n\n\nChe la distanza rende lucidi ma estranei\n\ne permette e non permette di capire.\n\n\nE di quegli anni resta in lei l'immagine di una ferocia dissennata\n\nviolenza e morte e dissipazione insensata di esistenze.\n\n\nE' che il percorso che lui ha seguito e che lei ha seguito sognava il comunismo\n\nma l'ha solo sfiorato senza entrarci dentro.\n\n\nManca la gioia manca il desiderio manca la creatività manca la socialità empatica.\n\nRestano solo la violenza e la repressione e la lotta alla repressione.\n\nNel percorso di lui e nella ricostruzione di lei.\n\n\nE non si sa se è distorto il percorso o è distorta la ricostruzione.\n\n\nE lei crede di trovare suo padre in un suo documento degli anni successivi\n\ndove teorizza nuove prospettive.\n\n\nE forse lo trova.\n\n\nMa non trova il 77\n\no lo trova e non lo riconosce\n\nin una lettera a Lotta Continua\n\ndove si dice\n\nVogliamo la poesia.\n\n\nQuesto è il 77\n\nVolevamo la poesia\n\nanche se il mondo è terribile\n\nproprio perché il mondo è terribile.\n\n\nSe cercate in questo libro lo spirito di quei tempi\n\nè qui che lo troverete.\n\n\nVogliamo la poesia.\n\n\nMarta Barone. Città sommersa.\n\n","downloadable_attachments":[{"id":65334375,"asset_id":44830642,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":170925827,"first_name":"Marcello","last_name":"Moscatelli","domain_name":"independent","page_name":"MarcelloMoscatelli2","display_name":"Marcello Moscatelli","profile_url":"https://independent.academia.edu/MarcelloMoscatelli2?f_ri=15514","photo":"https://0.academia-photos.com/170925827/47599253/36410813/s65_marcello.moscatelli.jpg"}],"research_interests":[{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":69388,"name":"Letteratura italiana moderna e contemporanea","url":"https://www.academia.edu/Documents/in/Letteratura_italiana_moderna_e_contemporanea?f_ri=15514","nofollow":true},{"id":106803,"name":"Letteratura","url":"https://www.academia.edu/Documents/in/Letteratura?f_ri=15514","nofollow":true},{"id":119973,"name":"Littérature","url":"https://www.academia.edu/Documents/in/Litt%C3%A9rature?f_ri=15514","nofollow":true},{"id":229030,"name":"Letteratura italiana","url":"https://www.academia.edu/Documents/in/Letteratura_italiana?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2132889" data-work_id="2132889" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2132889/Discussion_Questions_for_The_Nature_of_Truth">Discussion Questions for The Nature of Truth</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2132889" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7fe6e9f32173400e4b9cb0b1784dc69b" rel="nofollow" data-download="{"attachment_id":57792754,"asset_id":2132889,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57792754/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2609410" href="https://yale.academia.edu/SergioTroncoso">Sergio Troncoso</a><script data-card-contents-for-user="2609410" type="text/json">{"id":2609410,"first_name":"Sergio","last_name":"Troncoso","domain_name":"yale","page_name":"SergioTroncoso","display_name":"Sergio Troncoso","profile_url":"https://yale.academia.edu/SergioTroncoso?f_ri=15514","photo":"https://0.academia-photos.com/2609410/824271/72505348/s65_sergio.troncoso.jpg"}</script></span></span></li><li class="js-paper-rank-work_2132889 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2132889"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2132889, container: ".js-paper-rank-work_2132889", }); 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Scrisse che quando gli avevano detto che... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42960051" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Lo scrittore si era opposto all'idea di pubblicare una simile edizione del suo romanzo breve, e quando il volume uscì in Italia, pubblicò un articolo su Repubblica per raccontarne i retroscena. Scrisse che quando gli avevano detto che volevano farne una edizione illustrata da Dautremer, lui N Search Medium</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42960051" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="977c99d56ca03230c6fcb153e9147e13" rel="nofollow" data-download="{"attachment_id":105493057,"asset_id":42960051,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/105493057/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9007900" href="https://aucegypt.academia.edu/ElisaPierandrei">Elisa Pierandrei</a><script data-card-contents-for-user="9007900" type="text/json">{"id":9007900,"first_name":"Elisa","last_name":"Pierandrei","domain_name":"aucegypt","page_name":"ElisaPierandrei","display_name":"Elisa Pierandrei","profile_url":"https://aucegypt.academia.edu/ElisaPierandrei?f_ri=15514","photo":"https://0.academia-photos.com/9007900/3812381/135648953/s65_elisa.pierandrei.jpg"}</script></span></span></li><li class="js-paper-rank-work_42960051 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42960051"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42960051, container: ".js-paper-rank-work_42960051", }); 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Scrisse che quando gli avevano detto che volevano farne una edizione illustrata da Dautremer, lui N Search Medium","downloadable_attachments":[{"id":105493057,"asset_id":42960051,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9007900,"first_name":"Elisa","last_name":"Pierandrei","domain_name":"aucegypt","page_name":"ElisaPierandrei","display_name":"Elisa Pierandrei","profile_url":"https://aucegypt.academia.edu/ElisaPierandrei?f_ri=15514","photo":"https://0.academia-photos.com/9007900/3812381/135648953/s65_elisa.pierandrei.jpg"}],"research_interests":[{"id":1,"name":"Creative Writing","url":"https://www.academia.edu/Documents/in/Creative_Writing?f_ri=15514","nofollow":true},{"id":5080,"name":"Illustration","url":"https://www.academia.edu/Documents/in/Illustration?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37756400" data-work_id="37756400" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37756400/_Llamadas_onirofonicas_y_Esperanza_musical_de_Jose_Cardona_una_manifestacion_de_la_complejidad_contemporanea">"Llamadas onirofonicas" y "Esperanza musical" de Jose Cardona: una manifestacion de la complejidad contemporanea</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La modernidad es lo transitorio, lo fugitivo, lo contingente, la mitad del arte; la otra mitad es lo eterno e inmutable" Charles Baudelaire Siete y tres nueve es el libro de cuentos escrito por el colombiano residente en los Estados... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37756400" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La modernidad es lo transitorio, lo fugitivo, lo contingente, la mitad del arte; la otra mitad es lo eterno e inmutable" Charles Baudelaire Siete y tres nueve es el libro de cuentos escrito por el colombiano residente en los Estados Unidos, José Cardona López. La obra según el mismo autor, se encuentra organizada como una exposición dividida en seis salsas con diferentes puertas que el lector puede abordar, puesto que la esencia de los cuentos reposa en el ánimo permanente de contar (Cardona contraportada). El título del libro de cuentos representa una paradoja que solo es factible en la imaginación, porque en la realidad no es posible que siete y tres sean nueve. José Cardona menciona sobre su libro que "Primero, es una referencia a la imaginación, en donde todo es posible, y por tanto siete y tres pueden ser nueve, o quince (…) Segundo, es una referencia a la realidad que vivimos, tan cargada de absurdos, como también es un absurdo que siete y tres sean nueve" 3 En este caso se estudian a partir de las perspectivas teóricas contemporáneas dos cuentos, cada uno perteneciente a salas diferentes, en primer lugar de la Sala III "Esperanza musical" y en segundo lugar de la Sala IV "Llamadas onirofónicas". Estos Villa Montoya8</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37756400" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="646f8bfbe418c0e752abfe0e329aa8f5" rel="nofollow" data-download="{"attachment_id":57752342,"asset_id":37756400,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57752342/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5936070" href="https://upb-co.academia.edu/TatianaVillaMontoya">Tatiana Villa-Montoya</a><script data-card-contents-for-user="5936070" type="text/json">{"id":5936070,"first_name":"Tatiana","last_name":"Villa-Montoya","domain_name":"upb-co","page_name":"TatianaVillaMontoya","display_name":"Tatiana Villa-Montoya","profile_url":"https://upb-co.academia.edu/TatianaVillaMontoya?f_ri=15514","photo":"https://0.academia-photos.com/5936070/20567411/39009276/s65_tatiana.villa-montoya.jpg"}</script></span></span></li><li class="js-paper-rank-work_37756400 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37756400"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37756400, container: ".js-paper-rank-work_37756400", }); 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$(".js-view-count[data-work-id=37756400]").text(description); $(".js-view-count-work_37756400").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37756400").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37756400"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="37039" rel="nofollow" href="https://www.academia.edu/Documents/in/Colombian_Literature">Colombian Literature</a><script data-card-contents-for-ri="37039" type="text/json">{"id":37039,"name":"Colombian Literature","url":"https://www.academia.edu/Documents/in/Colombian_Literature?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37756400]'), work: {"id":37756400,"title":"\"Llamadas onirofonicas\" y \"Esperanza musical\" de Jose Cardona: una manifestacion de la complejidad contemporanea","created_at":"2018-11-12T16:29:57.990-08:00","url":"https://www.academia.edu/37756400/_Llamadas_onirofonicas_y_Esperanza_musical_de_Jose_Cardona_una_manifestacion_de_la_complejidad_contemporanea?f_ri=15514","dom_id":"work_37756400","summary":"La modernidad es lo transitorio, lo fugitivo, lo contingente, la mitad del arte; la otra mitad es lo eterno e inmutable\" Charles Baudelaire Siete y tres nueve es el libro de cuentos escrito por el colombiano residente en los Estados Unidos, José Cardona López. La obra según el mismo autor, se encuentra organizada como una exposición dividida en seis salsas con diferentes puertas que el lector puede abordar, puesto que la esencia de los cuentos reposa en el ánimo permanente de contar (Cardona contraportada). El título del libro de cuentos representa una paradoja que solo es factible en la imaginación, porque en la realidad no es posible que siete y tres sean nueve. José Cardona menciona sobre su libro que \"Primero, es una referencia a la imaginación, en donde todo es posible, y por tanto siete y tres pueden ser nueve, o quince (…) Segundo, es una referencia a la realidad que vivimos, tan cargada de absurdos, como también es un absurdo que siete y tres sean nueve\" 3 En este caso se estudian a partir de las perspectivas teóricas contemporáneas dos cuentos, cada uno perteneciente a salas diferentes, en primer lugar de la Sala III \"Esperanza musical\" y en segundo lugar de la Sala IV \"Llamadas onirofónicas\". Estos Villa Montoya8","downloadable_attachments":[{"id":57752342,"asset_id":37756400,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5936070,"first_name":"Tatiana","last_name":"Villa-Montoya","domain_name":"upb-co","page_name":"TatianaVillaMontoya","display_name":"Tatiana Villa-Montoya","profile_url":"https://upb-co.academia.edu/TatianaVillaMontoya?f_ri=15514","photo":"https://0.academia-photos.com/5936070/20567411/39009276/s65_tatiana.villa-montoya.jpg"}],"research_interests":[{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":37039,"name":"Colombian Literature","url":"https://www.academia.edu/Documents/in/Colombian_Literature?f_ri=15514","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39772694" data-work_id="39772694" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39772694/_Waiting_to_Live_Review_of_Melatu_Uche_Okories_This_Hostile_Life_Virago_2019_Dublin_Review_of_Books_June_2019_">"Waiting to Live: Review of Melatu Uche Okorie's This Hostile Life (Virago, 2019). Dublin Review of Books (June, 2019).</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The great Nigerian novelist Chinua Achebe once wrote: “Art is man’s constant effort to create for himself a different order of reality from that which is given to him.” One can see then why the Nigerian-Irish writer Melatu Uche Okorie,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39772694" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The great Nigerian novelist Chinua Achebe once wrote: “Art is man’s constant effort to create for himself a different order of reality from that which is given to him.” One can see then why the Nigerian-Irish writer Melatu Uche Okorie, who spent over eight years in the direct provision system, turned to literature. Her slim but weighty short story collection This Hostel Life tells of that experience. First published in 2018 by Skein Press, Ireland’s new platform for minority writers, the book is now being republished by the prestigious Virago Press.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39772694" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6eb4f798b762b701b6e1499c7633a912" rel="nofollow" data-download="{"attachment_id":59956146,"asset_id":39772694,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59956146/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4335659" href="https://ucd.academia.edu/DanOBrien">Dan O'Brien</a><script data-card-contents-for-user="4335659" type="text/json">{"id":4335659,"first_name":"Dan","last_name":"O'Brien","domain_name":"ucd","page_name":"DanOBrien","display_name":"Dan O'Brien","profile_url":"https://ucd.academia.edu/DanOBrien?f_ri=15514","photo":"https://0.academia-photos.com/4335659/14954270/18727994/s65_dan.o_brien.jpg"}</script></span></span></li><li class="js-paper-rank-work_39772694 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39772694"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39772694, container: ".js-paper-rank-work_39772694", }); 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$(".js-view-count[data-work-id=39772694]").text(description); $(".js-view-count-work_39772694").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39772694").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39772694"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="25" rel="nofollow" href="https://www.academia.edu/Documents/in/Nigerian_Literature">Nigerian Literature</a>, <script data-card-contents-for-ri="25" type="text/json">{"id":25,"name":"Nigerian Literature","url":"https://www.academia.edu/Documents/in/Nigerian_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1394" rel="nofollow" href="https://www.academia.edu/Documents/in/Irish_Literature">Irish Literature</a>, <script data-card-contents-for-ri="1394" type="text/json">{"id":1394,"name":"Irish Literature","url":"https://www.academia.edu/Documents/in/Irish_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="23577" rel="nofollow" href="https://www.academia.edu/Documents/in/Short_story_Literature_">Short story (Literature)</a><script data-card-contents-for-ri="23577" type="text/json">{"id":23577,"name":"Short story (Literature)","url":"https://www.academia.edu/Documents/in/Short_story_Literature_?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39772694]'), work: {"id":39772694,"title":"\"Waiting to Live: Review of Melatu Uche Okorie's This Hostile Life (Virago, 2019). Dublin Review of Books (June, 2019).","created_at":"2019-07-08T03:22:33.838-07:00","url":"https://www.academia.edu/39772694/_Waiting_to_Live_Review_of_Melatu_Uche_Okories_This_Hostile_Life_Virago_2019_Dublin_Review_of_Books_June_2019_?f_ri=15514","dom_id":"work_39772694","summary":"The great Nigerian novelist Chinua Achebe once wrote: “Art is man’s constant effort to create for himself a different order of reality from that which is given to him.” One can see then why the Nigerian-Irish writer Melatu Uche Okorie, who spent over eight years in the direct provision system, turned to literature. Her slim but weighty short story collection This Hostel Life tells of that experience. First published in 2018 by Skein Press, Ireland’s new platform for minority writers, the book is now being republished by the prestigious Virago Press.","downloadable_attachments":[{"id":59956146,"asset_id":39772694,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4335659,"first_name":"Dan","last_name":"O'Brien","domain_name":"ucd","page_name":"DanOBrien","display_name":"Dan O'Brien","profile_url":"https://ucd.academia.edu/DanOBrien?f_ri=15514","photo":"https://0.academia-photos.com/4335659/14954270/18727994/s65_dan.o_brien.jpg"}],"research_interests":[{"id":25,"name":"Nigerian Literature","url":"https://www.academia.edu/Documents/in/Nigerian_Literature?f_ri=15514","nofollow":true},{"id":1394,"name":"Irish Literature","url":"https://www.academia.edu/Documents/in/Irish_Literature?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":23577,"name":"Short story (Literature)","url":"https://www.academia.edu/Documents/in/Short_story_Literature_?f_ri=15514","nofollow":true},{"id":2936406,"name":"Melatu Uche Okorie","url":"https://www.academia.edu/Documents/in/Melatu_Uche_Okorie?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_65952256" data-work_id="65952256" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/65952256/Astonishment_and_Experimentation">Astonishment and Experimentation</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/65952256" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="82b38d9ef936978643ba7400203c0894" rel="nofollow" data-download="{"attachment_id":77329422,"asset_id":65952256,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/77329422/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25363234" href="https://ccny.academia.edu/laurahinton">laura hinton</a><script data-card-contents-for-user="25363234" type="text/json">{"id":25363234,"first_name":"laura","last_name":"hinton","domain_name":"ccny","page_name":"laurahinton","display_name":"laura hinton","profile_url":"https://ccny.academia.edu/laurahinton?f_ri=15514","photo":"https://gravatar.com/avatar/4931d8adb0ec1c6632f10c92cd3cdca5?s=65"}</script></span></span></li><li class="js-paper-rank-work_65952256 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="65952256"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 65952256, container: ".js-paper-rank-work_65952256", }); 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$(".js-view-count[data-work-id=65952256]").text(description); $(".js-view-count-work_65952256").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_65952256").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="65952256"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1236" rel="nofollow" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="52408" rel="nofollow" href="https://www.academia.edu/Documents/in/Literary_studies">Literary studies</a><script data-card-contents-for-ri="52408" type="text/json">{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=65952256]'), work: {"id":65952256,"title":"Astonishment and Experimentation","created_at":"2021-12-25T09:30:32.980-08:00","url":"https://www.academia.edu/65952256/Astonishment_and_Experimentation?f_ri=15514","dom_id":"work_65952256","summary":null,"downloadable_attachments":[{"id":77329422,"asset_id":65952256,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25363234,"first_name":"laura","last_name":"hinton","domain_name":"ccny","page_name":"laurahinton","display_name":"laura hinton","profile_url":"https://ccny.academia.edu/laurahinton?f_ri=15514","photo":"https://gravatar.com/avatar/4931d8adb0ec1c6632f10c92cd3cdca5?s=65"}],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=15514","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44889110" data-work_id="44889110" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44889110/Ayala_en_la_metr%C3%B3polis_Ciudad_cine_y_literatura_de_vanguardia_en_Espa%C3%B1a_a_principios_del_siglo_XX_Ayala_in_Metropolis_City_cinema_and_avant_garde_literature_in_Spain_at_the_beginning_of_XXth_century">Ayala en la metrópolis. Ciudad, cine y literatura de vanguardia en España a principios del siglo XX / Ayala in Metropolis. City, cinema and avant-garde literature in Spain at the beginning of XXth century</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Esta investigación analiza el período compren-dido entre finales de los años 20 y principios de los 30 en la literatura de Francisco Ayala. La cuestión principal gira en torno a la deno-minación como vanguardista de los escritos del... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44889110" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Esta investigación analiza el período compren-dido entre finales de los años 20 y principios de los 30 en la literatura de Francisco Ayala. La cuestión principal gira en torno a la deno-minación como vanguardista de los escritos del granadino, poniéndolos en relación con otras corrientes de vanguardia españolas y europeas del momento. Ayala fue un escritor fuertemente marcado por la vivencia del cine y de la metrópolis en un momento clave de la historia contemporánea europea, un autor pre-ocupado por el posicionamiento del artista en su contexto político y social. <br />Abstract: This research analyzes the period between the late 20's and early 30's in the literature of Francisco Ayala. The main issue is to solve the question about the denomination as vanguard of the writings of the Spanish writer, and after that, if possible, put them in relation to other avant-garde art currents, Spanish or European. Ayala was a writer strongly marked by the experience of cinema and the metropolis on a key moment in contemporary European history. An author concerned about the role of the artist in a particular political and social context.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44889110" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e56fb4c1758ef632c0f61cc2462602ec" rel="nofollow" data-download="{"attachment_id":65406045,"asset_id":44889110,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65406045/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22641594" href="https://unileon.academia.edu/LuisDRiveroMoreno">Luis D. Rivero Moreno</a><script data-card-contents-for-user="22641594" type="text/json">{"id":22641594,"first_name":"Luis D.","last_name":"Rivero Moreno","domain_name":"unileon","page_name":"LuisDRiveroMoreno","display_name":"Luis D. Rivero Moreno","profile_url":"https://unileon.academia.edu/LuisDRiveroMoreno?f_ri=15514","photo":"https://0.academia-photos.com/22641594/6156278/34525905/s65_luis_d..rivero_moreno.jpg"}</script></span></span></li><li class="js-paper-rank-work_44889110 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44889110"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44889110, container: ".js-paper-rank-work_44889110", }); });</script></li><li class="js-percentile-work_44889110 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44889110; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44889110"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44889110 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44889110"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44889110; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44889110]").text(description); $(".js-view-count-work_44889110").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44889110").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44889110"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="668" rel="nofollow" href="https://www.academia.edu/Documents/in/Spanish_Literature">Spanish Literature</a>, <script data-card-contents-for-ri="668" type="text/json">{"id":668,"name":"Spanish Literature","url":"https://www.academia.edu/Documents/in/Spanish_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1016" rel="nofollow" href="https://www.academia.edu/Documents/in/Avant-Garde_Cinema">Avant-Garde Cinema</a>, <script data-card-contents-for-ri="1016" type="text/json">{"id":1016,"name":"Avant-Garde Cinema","url":"https://www.academia.edu/Documents/in/Avant-Garde_Cinema?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="9437" rel="nofollow" href="https://www.academia.edu/Documents/in/Urbanism">Urbanism</a><script data-card-contents-for-ri="9437" type="text/json">{"id":9437,"name":"Urbanism","url":"https://www.academia.edu/Documents/in/Urbanism?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44889110]'), work: {"id":44889110,"title":"Ayala en la metrópolis. Ciudad, cine y literatura de vanguardia en España a principios del siglo XX / Ayala in Metropolis. City, cinema and avant-garde literature in Spain at the beginning of XXth century","created_at":"2021-01-12T06:52:20.187-08:00","url":"https://www.academia.edu/44889110/Ayala_en_la_metr%C3%B3polis_Ciudad_cine_y_literatura_de_vanguardia_en_Espa%C3%B1a_a_principios_del_siglo_XX_Ayala_in_Metropolis_City_cinema_and_avant_garde_literature_in_Spain_at_the_beginning_of_XXth_century?f_ri=15514","dom_id":"work_44889110","summary":"Esta investigación analiza el período compren-dido entre finales de los años 20 y principios de los 30 en la literatura de Francisco Ayala. La cuestión principal gira en torno a la deno-minación como vanguardista de los escritos del granadino, poniéndolos en relación con otras corrientes de vanguardia españolas y europeas del momento. Ayala fue un escritor fuertemente marcado por la vivencia del cine y de la metrópolis en un momento clave de la historia contemporánea europea, un autor pre-ocupado por el posicionamiento del artista en su contexto político y social. \nAbstract: This research analyzes the period between the late 20's and early 30's in the literature of Francisco Ayala. The main issue is to solve the question about the denomination as vanguard of the writings of the Spanish writer, and after that, if possible, put them in relation to other avant-garde art currents, Spanish or European. Ayala was a writer strongly marked by the experience of cinema and the metropolis on a key moment in contemporary European history. An author concerned about the role of the artist in a particular political and social context.","downloadable_attachments":[{"id":65406045,"asset_id":44889110,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22641594,"first_name":"Luis D.","last_name":"Rivero Moreno","domain_name":"unileon","page_name":"LuisDRiveroMoreno","display_name":"Luis D. Rivero Moreno","profile_url":"https://unileon.academia.edu/LuisDRiveroMoreno?f_ri=15514","photo":"https://0.academia-photos.com/22641594/6156278/34525905/s65_luis_d..rivero_moreno.jpg"}],"research_interests":[{"id":668,"name":"Spanish Literature","url":"https://www.academia.edu/Documents/in/Spanish_Literature?f_ri=15514","nofollow":true},{"id":1016,"name":"Avant-Garde Cinema","url":"https://www.academia.edu/Documents/in/Avant-Garde_Cinema?f_ri=15514","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15514","nofollow":true},{"id":9437,"name":"Urbanism","url":"https://www.academia.edu/Documents/in/Urbanism?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=15514"},{"id":21978,"name":"Cinema and the City","url":"https://www.academia.edu/Documents/in/Cinema_and_the_City?f_ri=15514"},{"id":23679,"name":"Poesía de las vanguardias hispánicas","url":"https://www.academia.edu/Documents/in/Poesia_de_las_vanguardias_hispanicas?f_ri=15514"},{"id":31319,"name":"20th century Avant-Garde","url":"https://www.academia.edu/Documents/in/20th_century_Avant-Garde?f_ri=15514"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=15514"},{"id":80173,"name":"Spanish Cultural Studies","url":"https://www.academia.edu/Documents/in/Spanish_Cultural_Studies?f_ri=15514"},{"id":132038,"name":"Spanish Avant-Garde","url":"https://www.academia.edu/Documents/in/Spanish_Avant-Garde?f_ri=15514"},{"id":175573,"name":"Avant-garde and experimental approaches to literature","url":"https://www.academia.edu/Documents/in/Avant-garde_and_experimental_approaches_to_literature?f_ri=15514"},{"id":190049,"name":"Literatura española e hispanoamericana","url":"https://www.academia.edu/Documents/in/Literatura_espa%C3%B1ola_e_hispanoamericana?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38171256" data-work_id="38171256" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38171256/%C3%87_aurait_pu_%C3%AAtre_moi_ce_garcon">Ç’aurait pu être moi, ce garcon</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The "Odissey" of Enaiat lasts seven years, from Afghanistan to Italy. Fabio Geda tells it in the novel "Nel mare ci sono i coccodrilli", that we analyse here embroiding a counterpoint of the Homeric poem. An inter-interpretation between... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38171256" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The "Odissey" of Enaiat lasts seven years, from Afghanistan to Italy. Fabio Geda tells it in the novel "Nel mare ci sono i coccodrilli", that we analyse here embroiding a counterpoint of the Homeric poem.<br />An inter-interpretation between the contemporary novel and the classical poem.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38171256" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2672fe53c40e3839924c99326d99bada" rel="nofollow" data-download="{"attachment_id":58206530,"asset_id":38171256,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58206530/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="39404635" href="https://anglais-upvd.academia.edu/federicaBALBI">Federica BALBI</a><script data-card-contents-for-user="39404635" type="text/json">{"id":39404635,"first_name":"Federica","last_name":"BALBI","domain_name":"anglais-upvd","page_name":"federicaBALBI","display_name":"Federica BALBI","profile_url":"https://anglais-upvd.academia.edu/federicaBALBI?f_ri=15514","photo":"https://0.academia-photos.com/39404635/21268010/20700541/s65_federica.balbi.jpg"}</script></span></span></li><li class="js-paper-rank-work_38171256 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38171256"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38171256, container: ".js-paper-rank-work_38171256", }); 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LONDON: I Ole Asbjørn Ness «Aftenlandet» følger vi skjebnen til Daniel, Kateb... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38572704" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dagbladet6. okt. 2018 Enkel visning Forfatter: ANMELDT AV: MARIUS WULFSBERG «Aftenlandet» er en dyster idéroman om Vestens undergang, som ikke holder helt inn. LONDON: I Ole Asbjørn Ness «Aftenlandet» følger vi skjebnen til Daniel, Kateb og Hanna i London på 1990-tallet. Foto: Shutterstock / NTB Scanpix Ole Asbjørn Ness er en forfatter med sans for det dystre og mørke. Han debuterte med den kritikerroste romanen «Det er natt» i 2004. Siden har han skrevet på en storstilt roman om forfallstendenser i Europa. Den har fått tittelen «Aftenlandet».</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38572704" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a3f208a4bc0a3fa0fa418dd8a76a5b1e" rel="nofollow" data-download="{"attachment_id":58645227,"asset_id":38572704,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58645227/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8869490" href="https://nb.academia.edu/MariusWulfsberg">Marius Wulfsberg</a><script data-card-contents-for-user="8869490" type="text/json">{"id":8869490,"first_name":"Marius","last_name":"Wulfsberg","domain_name":"nb","page_name":"MariusWulfsberg","display_name":"Marius Wulfsberg","profile_url":"https://nb.academia.edu/MariusWulfsberg?f_ri=15514","photo":"https://0.academia-photos.com/8869490/2913598/19635459/s65_marius.wulfsberg.jpg"}</script></span></span></li><li class="js-paper-rank-work_38572704 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38572704"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38572704, container: ".js-paper-rank-work_38572704", }); 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$(".js-view-count[data-work-id=38572704]").text(description); $(".js-view-count-work_38572704").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38572704").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38572704"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3773" rel="nofollow" href="https://www.academia.edu/Documents/in/Literary_Criticism">Literary Criticism</a>, <script data-card-contents-for-ri="3773" type="text/json">{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11797" rel="nofollow" href="https://www.academia.edu/Documents/in/Norwegian_Literature">Norwegian Literature</a>, <script data-card-contents-for-ri="11797" type="text/json">{"id":11797,"name":"Norwegian Literature","url":"https://www.academia.edu/Documents/in/Norwegian_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a><script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38572704]'), work: {"id":38572704,"title":"Ambisiøst om Vestens undergang - Ole Asbjørn Ness Aftenlandet","created_at":"2019-03-18T02:00:27.062-07:00","url":"https://www.academia.edu/38572704/Ambisi%C3%B8st_om_Vestens_undergang_Ole_Asbj%C3%B8rn_Ness_Aftenlandet?f_ri=15514","dom_id":"work_38572704","summary":"Dagbladet6. okt. 2018 Enkel visning Forfatter: ANMELDT AV: MARIUS WULFSBERG «Aftenlandet» er en dyster idéroman om Vestens undergang, som ikke holder helt inn. LONDON: I Ole Asbjørn Ness «Aftenlandet» følger vi skjebnen til Daniel, Kateb og Hanna i London på 1990-tallet. Foto: Shutterstock / NTB Scanpix Ole Asbjørn Ness er en forfatter med sans for det dystre og mørke. Han debuterte med den kritikerroste romanen «Det er natt» i 2004. Siden har han skrevet på en storstilt roman om forfallstendenser i Europa. Den har fått tittelen «Aftenlandet».","downloadable_attachments":[{"id":58645227,"asset_id":38572704,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8869490,"first_name":"Marius","last_name":"Wulfsberg","domain_name":"nb","page_name":"MariusWulfsberg","display_name":"Marius Wulfsberg","profile_url":"https://nb.academia.edu/MariusWulfsberg?f_ri=15514","photo":"https://0.academia-photos.com/8869490/2913598/19635459/s65_marius.wulfsberg.jpg"}],"research_interests":[{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=15514","nofollow":true},{"id":11797,"name":"Norwegian Literature","url":"https://www.academia.edu/Documents/in/Norwegian_Literature?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37622706" data-work_id="37622706" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37622706/_Il_comico_nella_narrativa_di_Luigi_Malerba_Convegno_Humour_and_Mediterranean_Manifestations_Representations_Functions_and_Literary_Implications_University_of_Spalato_Croatia_October_18_19_2018">"Il comico nella narrativa di Luigi Malerba" – Convegno "Humour and Mediterranean: Manifestations, Representations, Functions and Literary Implications", University of Spalato, Croatia, October 18-19, 2018.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In modern and contemporary literature and in art in general, humour is perceived as a social feature, usually derived from undesired or unconformist behaviour, frequently even related to the unconscious. It is attributed to humans,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37622706" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In modern and contemporary literature and in art in general, humour is perceived as a social feature, usually derived from undesired or unconformist behaviour, frequently even related to the <br />unconscious. It is attributed to humans, rather than to animals or objects and, as pointed out by <br />Bergson, there are some suggestions, that humans are animals which laugh. Also, Montaigne, <br />Flaubert and Derrida, among others, implied an inverse possibility, that of animals laughing at us. <br />Humour could undoubtedly be seen as a feature with important cultural, and/or cathartic impact. <br />This conference undertakes to explore the anomalies that humour challenges by opposing the <br />conventions and tradition, and/or political power or by overzealously observing the common ground rules. The conference is interested in the comic expressed in language and created by language, in various manifestations of humour, and especially in finding out if the comic exists outside of what is strictly defined as human (posthuman). <br />The conference shall challenge some traditional theories (Freud, Bergson, Pirandello etc.) and will welcome proposals which differentiate geographically where/if possible, ranges or types of humour, with special emphasis on the Mediterranean basin, seen as an area characterized by a special, hard to define, yet intuitively perceived type of humour. The conference is interested in answering thequestion if there are any literary and cultural patterns in highlighting the comic as opposed to solemn, and sober. <br />The conference welcomes submissions exploring any and all questions concerned with humour, and all its manifestations and features. The conference is particularly interested in finding out more about cultural implications and reflections of humour in literature, primarily in Mediterranean authors.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37622706" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="df8dc2e46de0536c7e3d4e2a960abd54" rel="nofollow" data-download="{"attachment_id":57606463,"asset_id":37622706,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57606463/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50318334" href="https://uniroma1.academia.edu/CristinaLaBella">Cristina La Bella</a><script data-card-contents-for-user="50318334" type="text/json">{"id":50318334,"first_name":"Cristina","last_name":"La Bella","domain_name":"uniroma1","page_name":"CristinaLaBella","display_name":"Cristina La Bella","profile_url":"https://uniroma1.academia.edu/CristinaLaBella?f_ri=15514","photo":"https://0.academia-photos.com/50318334/13234685/19385772/s65_cristina.la_bella.jpeg"}</script></span></span></li><li class="js-paper-rank-work_37622706 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37622706"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37622706, container: ".js-paper-rank-work_37622706", }); });</script></li><li class="js-percentile-work_37622706 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37622706; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_37622706"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37622706 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37622706"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37622706; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37622706]").text(description); $(".js-view-count-work_37622706").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37622706").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37622706"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2221" rel="nofollow" href="https://www.academia.edu/Documents/in/Italian_Studies">Italian Studies</a>, <script data-card-contents-for-ri="2221" type="text/json">{"id":2221,"name":"Italian Studies","url":"https://www.academia.edu/Documents/in/Italian_Studies?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6952" rel="nofollow" href="https://www.academia.edu/Documents/in/Mediterranean_Studies">Mediterranean Studies</a>, <script data-card-contents-for-ri="6952" type="text/json">{"id":6952,"name":"Mediterranean Studies","url":"https://www.academia.edu/Documents/in/Mediterranean_Studies?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="51476" rel="nofollow" href="https://www.academia.edu/Documents/in/Humour_Studies">Humour Studies</a><script data-card-contents-for-ri="51476" type="text/json">{"id":51476,"name":"Humour Studies","url":"https://www.academia.edu/Documents/in/Humour_Studies?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37622706]'), work: {"id":37622706,"title":"\"Il comico nella narrativa di Luigi Malerba\" – Convegno \"Humour and Mediterranean: Manifestations, Representations, Functions and Literary Implications\", University of Spalato, Croatia, October 18-19, 2018.","created_at":"2018-10-21T12:57:24.172-07:00","url":"https://www.academia.edu/37622706/_Il_comico_nella_narrativa_di_Luigi_Malerba_Convegno_Humour_and_Mediterranean_Manifestations_Representations_Functions_and_Literary_Implications_University_of_Spalato_Croatia_October_18_19_2018?f_ri=15514","dom_id":"work_37622706","summary":"In modern and contemporary literature and in art in general, humour is perceived as a social feature, usually derived from undesired or unconformist behaviour, frequently even related to the \nunconscious. It is attributed to humans, rather than to animals or objects and, as pointed out by \nBergson, there are some suggestions, that humans are animals which laugh. Also, Montaigne, \nFlaubert and Derrida, among others, implied an inverse possibility, that of animals laughing at us. \nHumour could undoubtedly be seen as a feature with important cultural, and/or cathartic impact. \nThis conference undertakes to explore the anomalies that humour challenges by opposing the \nconventions and tradition, and/or political power or by overzealously observing the common ground rules. The conference is interested in the comic expressed in language and created by language, in various manifestations of humour, and especially in finding out if the comic exists outside of what is strictly defined as human (posthuman). \nThe conference shall challenge some traditional theories (Freud, Bergson, Pirandello etc.) and will welcome proposals which differentiate geographically where/if possible, ranges or types of humour, with special emphasis on the Mediterranean basin, seen as an area characterized by a special, hard to define, yet intuitively perceived type of humour. The conference is interested in answering thequestion if there are any literary and cultural patterns in highlighting the comic as opposed to solemn, and sober. \nThe conference welcomes submissions exploring any and all questions concerned with humour, and all its manifestations and features. The conference is particularly interested in finding out more about cultural implications and reflections of humour in literature, primarily in Mediterranean authors.","downloadable_attachments":[{"id":57606463,"asset_id":37622706,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50318334,"first_name":"Cristina","last_name":"La Bella","domain_name":"uniroma1","page_name":"CristinaLaBella","display_name":"Cristina La Bella","profile_url":"https://uniroma1.academia.edu/CristinaLaBella?f_ri=15514","photo":"https://0.academia-photos.com/50318334/13234685/19385772/s65_cristina.la_bella.jpeg"}],"research_interests":[{"id":2221,"name":"Italian Studies","url":"https://www.academia.edu/Documents/in/Italian_Studies?f_ri=15514","nofollow":true},{"id":6952,"name":"Mediterranean Studies","url":"https://www.academia.edu/Documents/in/Mediterranean_Studies?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":51476,"name":"Humour Studies","url":"https://www.academia.edu/Documents/in/Humour_Studies?f_ri=15514","nofollow":true},{"id":66211,"name":"Humour","url":"https://www.academia.edu/Documents/in/Humour?f_ri=15514"},{"id":69388,"name":"Letteratura italiana moderna e contemporanea","url":"https://www.academia.edu/Documents/in/Letteratura_italiana_moderna_e_contemporanea?f_ri=15514"},{"id":197172,"name":"Luigi Malerba","url":"https://www.academia.edu/Documents/in/Luigi_Malerba?f_ri=15514"},{"id":229030,"name":"Letteratura italiana","url":"https://www.academia.edu/Documents/in/Letteratura_italiana?f_ri=15514"},{"id":449370,"name":"Italianistica","url":"https://www.academia.edu/Documents/in/Italianistica?f_ri=15514"},{"id":452580,"name":"Croatian Literature","url":"https://www.academia.edu/Documents/in/Croatian_Literature?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_23238587" data-work_id="23238587" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/23238587/Liquid_spaces_re_thinking_transnationalism_in_an_era_of_globalization">Liquid spaces : (re)thinking transnationalism in an era of globalization</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper aims to analyze the main arguments of the Manifeste pour une littérature-monde en français and to emphasize some critical implications that are not only limited to the so-called francophonie, but that define a contemporary way... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23238587" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper aims to analyze the main arguments of the Manifeste pour une littérature-monde en français and to emphasize some critical implications that are not only limited to the so-called francophonie, but that define a contemporary way of characterizing supranational spaces. Indeed, this manifesto presents a paradox: it criticizes the francophonie, a transnational space, because of its lack of transnationalism. However, one can understand this paradox by considering the main point of this text that superimposes a global imaginary on the linguistic criterion. According to this juxtaposition, the use of a language can never be subsumed by a sharply delineated geographical space, because in the era of globalization this kind of space is fluid, liquid – it is permanently redrawn by the mobility of the writers and their imaginary. Through the example of some paradigmatic writers, like K. Ishiguro, A. Mabanckou, A. Neuman or S. Rushdie, we will demonstrate that this liquid transnationalism is particularly relevant for theorizing and modeling the nomadism or the in-betweenness of so many contemporary authors. We will also prove that this liquidity leads to a maximization of the transnationalism since it makes possible the enlargement of every transnational space to the global world.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23238587" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="67bf857090e32ee90a15abf45cf25b39" rel="nofollow" data-download="{"attachment_id":58743799,"asset_id":23238587,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58743799/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="45086243" href="https://uclouvain.academia.edu/AmauryDehoux">Amaury Dehoux</a><script data-card-contents-for-user="45086243" type="text/json">{"id":45086243,"first_name":"Amaury","last_name":"Dehoux","domain_name":"uclouvain","page_name":"AmauryDehoux","display_name":"Amaury Dehoux","profile_url":"https://uclouvain.academia.edu/AmauryDehoux?f_ri=15514","photo":"https://0.academia-photos.com/45086243/14070152/15085354/s65_amaury.dehoux.jpg"}</script></span></span></li><li class="js-paper-rank-work_23238587 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23238587"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23238587, container: ".js-paper-rank-work_23238587", }); 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$(".js-view-count[data-work-id=23238587]").text(description); $(".js-view-count-work_23238587").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_23238587").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="23238587"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="659" rel="nofollow" href="https://www.academia.edu/Documents/in/Comparative_Literature">Comparative Literature</a>, <script data-card-contents-for-ri="659" type="text/json">{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2793" rel="nofollow" href="https://www.academia.edu/Documents/in/Transnationalism">Transnationalism</a>, <script data-card-contents-for-ri="2793" type="text/json">{"id":2793,"name":"Transnationalism","url":"https://www.academia.edu/Documents/in/Transnationalism?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="27253" rel="nofollow" href="https://www.academia.edu/Documents/in/Globalization_and_literature">Globalization and literature</a><script data-card-contents-for-ri="27253" type="text/json">{"id":27253,"name":"Globalization and literature","url":"https://www.academia.edu/Documents/in/Globalization_and_literature?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=23238587]'), work: {"id":23238587,"title":"Liquid spaces : (re)thinking transnationalism in an era of globalization","created_at":"2016-03-14T11:01:43.750-07:00","url":"https://www.academia.edu/23238587/Liquid_spaces_re_thinking_transnationalism_in_an_era_of_globalization?f_ri=15514","dom_id":"work_23238587","summary":"This paper aims to analyze the main arguments of the Manifeste pour une littérature-monde en français and to emphasize some critical implications that are not only limited to the so-called francophonie, but that define a contemporary way of characterizing supranational spaces. Indeed, this manifesto presents a paradox: it criticizes the francophonie, a transnational space, because of its lack of transnationalism. However, one can understand this paradox by considering the main point of this text that superimposes a global imaginary on the linguistic criterion. According to this juxtaposition, the use of a language can never be subsumed by a sharply delineated geographical space, because in the era of globalization this kind of space is fluid, liquid – it is permanently redrawn by the mobility of the writers and their imaginary. Through the example of some paradigmatic writers, like K. Ishiguro, A. Mabanckou, A. Neuman or S. Rushdie, we will demonstrate that this liquid transnationalism is particularly relevant for theorizing and modeling the nomadism or the in-betweenness of so many contemporary authors. We will also prove that this liquidity leads to a maximization of the transnationalism since it makes possible the enlargement of every transnational space to the global world.","downloadable_attachments":[{"id":58743799,"asset_id":23238587,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":45086243,"first_name":"Amaury","last_name":"Dehoux","domain_name":"uclouvain","page_name":"AmauryDehoux","display_name":"Amaury Dehoux","profile_url":"https://uclouvain.academia.edu/AmauryDehoux?f_ri=15514","photo":"https://0.academia-photos.com/45086243/14070152/15085354/s65_amaury.dehoux.jpg"}],"research_interests":[{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=15514","nofollow":true},{"id":2793,"name":"Transnationalism","url":"https://www.academia.edu/Documents/in/Transnationalism?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":27253,"name":"Globalization and literature","url":"https://www.academia.edu/Documents/in/Globalization_and_literature?f_ri=15514","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13093442" data-work_id="13093442" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/13093442/Resenha_de_Fiat_Lux_de_Paula_Abramo">Resenha de "Fiat Lux" de Paula Abramo</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Resenha de "Fiat Lux" de Paula Abramo</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div 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href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a>, <script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2395" rel="nofollow" href="https://www.academia.edu/Documents/in/Mexican_Studies">Mexican Studies</a>, <script data-card-contents-for-ri="2395" type="text/json">{"id":2395,"name":"Mexican Studies","url":"https://www.academia.edu/Documents/in/Mexican_Studies?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12957" rel="nofollow" href="https://www.academia.edu/Documents/in/Latin_American_literature">Latin American literature</a>, <script data-card-contents-for-ri="12957" type="text/json">{"id":12957,"name":"Latin American 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Abramo","downloadable_attachments":[{"id":37942941,"asset_id":13093442,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":20215161,"first_name":"Paulo","last_name":"Moreira","domain_name":"ou","page_name":"PauloMoreira","display_name":"Paulo Moreira","profile_url":"https://ou.academia.edu/PauloMoreira?f_ri=15514","photo":"https://0.academia-photos.com/20215161/5616830/6649145/s65_paulo.moreira.jpg"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=15514","nofollow":true},{"id":2395,"name":"Mexican Studies","url":"https://www.academia.edu/Documents/in/Mexican_Studies?f_ri=15514","nofollow":true},{"id":12957,"name":"Latin American literature","url":"https://www.academia.edu/Documents/in/Latin_American_literature?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":19471,"name":"Contemporary Poetry","url":"https://www.academia.edu/Documents/in/Contemporary_Poetry?f_ri=15514"},{"id":36528,"name":"Contemporary Mexican Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Mexican_Literature?f_ri=15514"},{"id":115603,"name":"Poesía mexicana","url":"https://www.academia.edu/Documents/in/Poes%C3%ADa_mexicana?f_ri=15514"},{"id":159995,"name":"América Latina","url":"https://www.academia.edu/Documents/in/Am%C3%A9rica_Latina?f_ri=15514"},{"id":199130,"name":"Poesia Brasileira","url":"https://www.academia.edu/Documents/in/Poesia_Brasileira?f_ri=15514"},{"id":811707,"name":"Poesia brasileira moderna e e contemporânea","url":"https://www.academia.edu/Documents/in/Poesia_brasileira_moderna_e_e_contemporanea?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5468486" data-work_id="5468486" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5468486/Formal_Antagonisms_How_Philip_Roth_Writes_Nathan_Zuckerman">Formal Antagonisms: How Philip Roth Writes Nathan Zuckerman</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5468486" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f351ca1372c28f6bfe759181dcee9c30" 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if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5468486]'), work: {"id":5468486,"title":"Formal Antagonisms: How Philip Roth Writes Nathan Zuckerman","created_at":"2013-12-18T02:48:00.576-08:00","url":"https://www.academia.edu/5468486/Formal_Antagonisms_How_Philip_Roth_Writes_Nathan_Zuckerman?f_ri=15514","dom_id":"work_5468486","summary":null,"downloadable_attachments":[{"id":32584802,"asset_id":5468486,"asset_type":"Work","always_allow_download":false},{"id":32584800,"asset_id":5468486,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7679416,"first_name":"Benjamin","last_name":"Ogden","domain_name":"stevens","page_name":"BenjaminOgden","display_name":"Benjamin 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His left leg no longer bent at the knee so that when he walked, he had to drag it behind him the way a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3410614" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">When the boy was born, they said that something was wrong with his heart, but after the operation, he came out all stiff and twisted. His left leg no longer bent at the knee so that when he walked, he had to drag it behind him the way a child does a toy. And his right arm which was now rotated and pulled up at the shoulder, looked like a tangled marionette's, and the permanently cupped hand which ought to face backward faced forward.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3410614" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6e0d7880a34ace44ef4bde9f83cadda1" rel="nofollow" data-download="{"attachment_id":31191301,"asset_id":3410614,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31191301/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2210140" href="https://rutgers.academia.edu/SusanOsborn">Susan Osborn</a><script data-card-contents-for-user="2210140" type="text/json">{"id":2210140,"first_name":"Susan","last_name":"Osborn","domain_name":"rutgers","page_name":"SusanOsborn","display_name":"Susan Osborn","profile_url":"https://rutgers.academia.edu/SusanOsborn?f_ri=15514","photo":"https://0.academia-photos.com/2210140/1313426/17350474/s65_susan.osborn.jpg"}</script></span></span></li><li class="js-paper-rank-work_3410614 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3410614"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3410614, container: ".js-paper-rank-work_3410614", }); 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And his right arm which was now rotated and pulled up at the shoulder, looked like a tangled marionette's, and the permanently cupped hand which ought to face backward faced forward.","downloadable_attachments":[{"id":31191301,"asset_id":3410614,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2210140,"first_name":"Susan","last_name":"Osborn","domain_name":"rutgers","page_name":"SusanOsborn","display_name":"Susan Osborn","profile_url":"https://rutgers.academia.edu/SusanOsborn?f_ri=15514","photo":"https://0.academia-photos.com/2210140/1313426/17350474/s65_susan.osborn.jpg"}],"research_interests":[{"id":1,"name":"Creative Writing","url":"https://www.academia.edu/Documents/in/Creative_Writing?f_ri=15514","nofollow":true},{"id":3,"name":"Fiction Writing","url":"https://www.academia.edu/Documents/in/Fiction_Writing?f_ri=15514","nofollow":true},{"id":5191,"name":"Modernist fiction","url":"https://www.academia.edu/Documents/in/Modernist_fiction?f_ri=15514","nofollow":true},{"id":8296,"name":"Gothic Literature","url":"https://www.academia.edu/Documents/in/Gothic_Literature?f_ri=15514","nofollow":true},{"id":10233,"name":"Twentieth Century Literature","url":"https://www.academia.edu/Documents/in/Twentieth_Century_Literature?f_ri=15514"},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514"},{"id":21869,"name":"Twentieth-Century American Literature","url":"https://www.academia.edu/Documents/in/Twentieth-Century_American_Literature?f_ri=15514"},{"id":23577,"name":"Short story (Literature)","url":"https://www.academia.edu/Documents/in/Short_story_Literature_?f_ri=15514"},{"id":26293,"name":"American Fiction 1980 - present","url":"https://www.academia.edu/Documents/in/American_Fiction_1980_-_present?f_ri=15514"},{"id":28763,"name":"Contemporary Gothic Fiction","url":"https://www.academia.edu/Documents/in/Contemporary_Gothic_Fiction?f_ri=15514"},{"id":39418,"name":"Fiction Novels And Short Stories","url":"https://www.academia.edu/Documents/in/Fiction_Novels_And_Short_Stories?f_ri=15514"},{"id":42405,"name":"Modern Fairy Tales","url":"https://www.academia.edu/Documents/in/Modern_Fairy_Tales?f_ri=15514"},{"id":44675,"name":"Fiction","url":"https://www.academia.edu/Documents/in/Fiction?f_ri=15514"},{"id":65880,"name":"Speculative Fiction","url":"https://www.academia.edu/Documents/in/Speculative_Fiction?f_ri=15514"},{"id":69865,"name":"Revisionist Fairy Tales","url":"https://www.academia.edu/Documents/in/Revisionist_Fairy_Tales?f_ri=15514"},{"id":158573,"name":"Short Stories","url":"https://www.academia.edu/Documents/in/Short_Stories?f_ri=15514"},{"id":169975,"name":"Use of Myth and Fairy Tale in Contemporary Women's Writing","url":"https://www.academia.edu/Documents/in/Use_of_Myth_and_Fairy_Tale_in_Contemporary_Womens_Writing?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_63087419" data-work_id="63087419" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/63087419/_The_Anxieties_of_Authenticity_in_Post_2000_British_Fiction_">‘The Anxieties of Authenticity in Post-2000 British Fiction’</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Postmodern culture, with its fetishization of the mash-up, the pastiche, and the recombinant, mirrors a contemporary vision of subjectivity as performative and protean, and the current emphasis on being oneself—in an environment where to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_63087419" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Postmodern culture, with its fetishization of the mash-up, the pastiche, and the recombinant, mirrors a contemporary vision of subjectivity as performative and protean, and the current emphasis on being oneself—in an environment where to be oneself is often to be an imitation of others—produces a bewildering double-think that achieves exactly the opposite of the expressivist ideal associated with authenticity. Given the uncoupling of self-understanding from the validating structures of religious discipline and social collectivism, how one goes about locating an authentic hub and testing that against any model other than a subjective pathos, is philosophically problematic. And yet, a generation after the Linguistic Turn, the lure of the authentic as an absolute mode of being has not only not diminished, but has reasserted itself as an insistent trope of contemporary lived and aesthetic practice. Taking British fiction since 2000 as its focus, this essay will explore the prevalence an...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/63087419" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3244f73599c62a6a3407837011d92a40" rel="nofollow" data-download="{"attachment_id":75629813,"asset_id":63087419,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/75629813/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="120479588" href="https://independent.academia.edu/DanielLea10">Daniel Lea</a><script data-card-contents-for-user="120479588" type="text/json">{"id":120479588,"first_name":"Daniel","last_name":"Lea","domain_name":"independent","page_name":"DanielLea10","display_name":"Daniel Lea","profile_url":"https://independent.academia.edu/DanielLea10?f_ri=15514","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_63087419 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="63087419"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 63087419, container: ".js-paper-rank-work_63087419", }); 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Given the uncoupling of self-understanding from the validating structures of religious discipline and social collectivism, how one goes about locating an authentic hub and testing that against any model other than a subjective pathos, is philosophically problematic. And yet, a generation after the Linguistic Turn, the lure of the authentic as an absolute mode of being has not only not diminished, but has reasserted itself as an insistent trope of contemporary lived and aesthetic practice. Taking British fiction since 2000 as its focus, this essay will explore the prevalence an...","downloadable_attachments":[{"id":75629813,"asset_id":63087419,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":120479588,"first_name":"Daniel","last_name":"Lea","domain_name":"independent","page_name":"DanielLea10","display_name":"Daniel Lea","profile_url":"https://independent.academia.edu/DanielLea10?f_ri=15514","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":5579,"name":"Authenticity","url":"https://www.academia.edu/Documents/in/Authenticity?f_ri=15514","nofollow":true},{"id":14567,"name":"Contemporary British Literature","url":"https://www.academia.edu/Documents/in/Contemporary_British_Literature?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":16461,"name":"Psychoanalysis And Literature","url":"https://www.academia.edu/Documents/in/Psychoanalysis_And_Literature?f_ri=15514","nofollow":true},{"id":31710,"name":"Twenty-first Century Literature","url":"https://www.academia.edu/Documents/in/Twenty-first_Century_Literature?f_ri=15514"},{"id":36693,"name":"Madness and Literature","url":"https://www.academia.edu/Documents/in/Madness_and_Literature?f_ri=15514"},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=15514"},{"id":293275,"name":"Tom McCarthy","url":"https://www.academia.edu/Documents/in/Tom_McCarthy?f_ri=15514"},{"id":326136,"name":"Steven Hall","url":"https://www.academia.edu/Documents/in/Steven_Hall?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37600242" data-work_id="37600242" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37600242/David_Mitchells_Post_Secular_World_Buddhism_Belief_and_the_Urgency_of_Compassion">David Mitchell's Post-Secular World: Buddhism, Belief and the Urgency of Compassion</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Rose Harris-Birtill analyses the secular reworking of Buddhist religious influences across David Mitchell’s complete fictions, including his novels, short stories, and libretti, arguing that their shared ethical perspectives draw them... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37600242" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Rose Harris-Birtill analyses the secular reworking of Buddhist religious influences across David Mitchell’s complete fictions, including his novels, short stories, and libretti, arguing that their shared ethical perspectives draw them into a continuous post-secular world, and introducing the Tibetan Buddhist mandala as a fittingly post-secular comparative model through which to analyse Mitchell’s fictional worldview. Harris-Birtill demonstrates that Mitchell’s fictions cumulatively map not a physical terrain but the metaphysical world of belief, creating an interconnected world-system in order to suggest new ethical approaches to global humanitarian crises, revaluing the role of secular belief in galvanising both compassionate action and collective resistance. This study also reads the recurring character of Marinus as a form of secular bodhisattva, analysing Mitchell’s use of reincarnation as a form of non-linear temporality aimed at generating future-facing ethical action amidst the worryingly linear temporality of the Anthropocene. Harris-Birtill also identifies shared post-secular world-building in other contemporary literature, analysing novels by Michael Ondaatje, Ali Smith, Yann Martel, Will Self and Margaret Atwood in order to suggest the emerging literary category of mandalic literature. This perceptive study combines Buddhist philosophy with critical theory, drawing on Jung, Derrida, Foucault and Spivak, alongside contemporary theories of metamodernism and globalization. Taking a post-Jungian approach to the Tibetan mandala not as an ahistorical symbol but as a living socio-cultural artefact in diaspora, Harris-Birtill also identifies the wider implications of the mandala’s theorisation, noting the urgent need to resituate this ‘holistic’ symbol within the ongoing socio-political struggles that led to its increased international visibility.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37600242" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e85e20527c06519dec75de7244411e69" rel="nofollow" data-download="{"attachment_id":57581567,"asset_id":37600242,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57581567/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11023206" href="https://birkbeck.academia.edu/RoseHarrisBirtill">Rose Harris-Birtill</a><script data-card-contents-for-user="11023206" type="text/json">{"id":11023206,"first_name":"Rose","last_name":"Harris-Birtill","domain_name":"birkbeck","page_name":"RoseHarrisBirtill","display_name":"Rose Harris-Birtill","profile_url":"https://birkbeck.academia.edu/RoseHarrisBirtill?f_ri=15514","photo":"https://0.academia-photos.com/11023206/3271080/3849240/s65_rose.harris-birtill.jpg"}</script></span></span></li><li class="js-paper-rank-work_37600242 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37600242"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37600242, container: ".js-paper-rank-work_37600242", }); 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$(".js-view-count[data-work-id=37600242]").text(description); $(".js-view-count-work_37600242").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37600242").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37600242"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="113" rel="nofollow" href="https://www.academia.edu/Documents/in/Buddhism">Buddhism</a>, <script data-card-contents-for-ri="113" type="text/json">{"id":113,"name":"Buddhism","url":"https://www.academia.edu/Documents/in/Buddhism?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="658" rel="nofollow" href="https://www.academia.edu/Documents/in/World_Literatures">World Literatures</a>, <script data-card-contents-for-ri="658" type="text/json">{"id":658,"name":"World Literatures","url":"https://www.academia.edu/Documents/in/World_Literatures?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1222" rel="nofollow" href="https://www.academia.edu/Documents/in/Buddhist_Philosophy">Buddhist Philosophy</a>, <script data-card-contents-for-ri="1222" type="text/json">{"id":1222,"name":"Buddhist Philosophy","url":"https://www.academia.edu/Documents/in/Buddhist_Philosophy?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5472" rel="nofollow" href="https://www.academia.edu/Documents/in/Jungian_psychology">Jungian psychology</a><script data-card-contents-for-ri="5472" type="text/json">{"id":5472,"name":"Jungian psychology","url":"https://www.academia.edu/Documents/in/Jungian_psychology?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37600242]'), work: {"id":37600242,"title":"David Mitchell's Post-Secular World: Buddhism, Belief and the Urgency of Compassion","created_at":"2018-10-17T06:35:42.101-07:00","url":"https://www.academia.edu/37600242/David_Mitchells_Post_Secular_World_Buddhism_Belief_and_the_Urgency_of_Compassion?f_ri=15514","dom_id":"work_37600242","summary":"Rose Harris-Birtill analyses the secular reworking of Buddhist religious influences across David Mitchell’s complete fictions, including his novels, short stories, and libretti, arguing that their shared ethical perspectives draw them into a continuous post-secular world, and introducing the Tibetan Buddhist mandala as a fittingly post-secular comparative model through which to analyse Mitchell’s fictional worldview. Harris-Birtill demonstrates that Mitchell’s fictions cumulatively map not a physical terrain but the metaphysical world of belief, creating an interconnected world-system in order to suggest new ethical approaches to global humanitarian crises, revaluing the role of secular belief in galvanising both compassionate action and collective resistance. This study also reads the recurring character of Marinus as a form of secular bodhisattva, analysing Mitchell’s use of reincarnation as a form of non-linear temporality aimed at generating future-facing ethical action amidst the worryingly linear temporality of the Anthropocene. Harris-Birtill also identifies shared post-secular world-building in other contemporary literature, analysing novels by Michael Ondaatje, Ali Smith, Yann Martel, Will Self and Margaret Atwood in order to suggest the emerging literary category of mandalic literature. This perceptive study combines Buddhist philosophy with critical theory, drawing on Jung, Derrida, Foucault and Spivak, alongside contemporary theories of metamodernism and globalization. Taking a post-Jungian approach to the Tibetan mandala not as an ahistorical symbol but as a living socio-cultural artefact in diaspora, Harris-Birtill also identifies the wider implications of the mandala’s theorisation, noting the urgent need to resituate this ‘holistic’ symbol within the ongoing socio-political struggles that led to its increased international visibility.","downloadable_attachments":[{"id":57581567,"asset_id":37600242,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11023206,"first_name":"Rose","last_name":"Harris-Birtill","domain_name":"birkbeck","page_name":"RoseHarrisBirtill","display_name":"Rose Harris-Birtill","profile_url":"https://birkbeck.academia.edu/RoseHarrisBirtill?f_ri=15514","photo":"https://0.academia-photos.com/11023206/3271080/3849240/s65_rose.harris-birtill.jpg"}],"research_interests":[{"id":113,"name":"Buddhism","url":"https://www.academia.edu/Documents/in/Buddhism?f_ri=15514","nofollow":true},{"id":658,"name":"World Literatures","url":"https://www.academia.edu/Documents/in/World_Literatures?f_ri=15514","nofollow":true},{"id":1222,"name":"Buddhist Philosophy","url":"https://www.academia.edu/Documents/in/Buddhist_Philosophy?f_ri=15514","nofollow":true},{"id":5472,"name":"Jungian psychology","url":"https://www.academia.edu/Documents/in/Jungian_psychology?f_ri=15514","nofollow":true},{"id":6532,"name":"Mandalas","url":"https://www.academia.edu/Documents/in/Mandalas?f_ri=15514"},{"id":8613,"name":"Jungian and post-Jungian psychology","url":"https://www.academia.edu/Documents/in/Jungian_and_post-Jungian_psychology?f_ri=15514"},{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault?f_ri=15514"},{"id":12040,"name":"Jacques Derrida","url":"https://www.academia.edu/Documents/in/Jacques_Derrida?f_ri=15514"},{"id":14567,"name":"Contemporary British Literature","url":"https://www.academia.edu/Documents/in/Contemporary_British_Literature?f_ri=15514"},{"id":15008,"name":"World Literature","url":"https://www.academia.edu/Documents/in/World_Literature?f_ri=15514"},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514"},{"id":18313,"name":"Tibetan Buddhism","url":"https://www.academia.edu/Documents/in/Tibetan_Buddhism?f_ri=15514"},{"id":22769,"name":"Postsecularism (Sociology)","url":"https://www.academia.edu/Documents/in/Postsecularism_Sociology_?f_ri=15514"},{"id":22968,"name":"Literature and Religion","url":"https://www.academia.edu/Documents/in/Literature_and_Religion?f_ri=15514"},{"id":27647,"name":"Margaret Atwood","url":"https://www.academia.edu/Documents/in/Margaret_Atwood?f_ri=15514"},{"id":30921,"name":"Anglophone Literature","url":"https://www.academia.edu/Documents/in/Anglophone_Literature?f_ri=15514"},{"id":77997,"name":"Gayatri Spivak","url":"https://www.academia.edu/Documents/in/Gayatri_Spivak?f_ri=15514"},{"id":160250,"name":"Post-Secular Theory","url":"https://www.academia.edu/Documents/in/Post-Secular_Theory?f_ri=15514"},{"id":251653,"name":"Postsecular theory","url":"https://www.academia.edu/Documents/in/Postsecular_theory?f_ri=15514"},{"id":511770,"name":"David Mitchell","url":"https://www.academia.edu/Documents/in/David_Mitchell?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26505473" data-work_id="26505473" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26505473/Possible_Wor_l_ds_The_Social_and_Literary_Significance_of_Code_Switch_Tags_in_Junot_D%C3%ADaz">Possible Wor(l)ds: The Social and Literary Significance of Code-Switch Tags in Junot Díaz</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The aim of this paper is to establish a link between the code-switch "tags" in Junot Díaz's work and some formal resources of graffiti artists, in particular their emblematic "tagz." These elements are read together to attest to a battle... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26505473" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The aim of this paper is to establish a link between the code-switch "tags" in Junot Díaz's work and some formal resources of graffiti artists, in particular their emblematic "tagz." These elements are read together to attest to a battle of the discursive sort being waged in the discursive frontiers of North America, as well as globally in the contact zones between cultures.<br /><br /><br />RESUMEN<br />En este trabajo se analiza la relación entre el la alternancia de lenguas en las narraciones de Junot Díaz y ciertos recursos formales empleados por artistas del graffiti. Estos elementos revelan una batalla por el estilo discursivo que se libra en las tierras fronterizas de América del Norte, y globalmente en zonas de contacto cultural.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26505473" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fc52c8d3fc4b6d94590456a2cebf0f89" rel="nofollow" data-download="{"attachment_id":46802226,"asset_id":26505473,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46802226/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3906493" href="https://stanford.academia.edu/JulianaNalerio">Juliana Nalerio</a><script data-card-contents-for-user="3906493" type="text/json">{"id":3906493,"first_name":"Juliana","last_name":"Nalerio","domain_name":"stanford","page_name":"JulianaNalerio","display_name":"Juliana Nalerio","profile_url":"https://stanford.academia.edu/JulianaNalerio?f_ri=15514","photo":"https://0.academia-photos.com/3906493/1450484/143713402/s65_juliana.nalerio.jpg"}</script></span></span></li><li class="js-paper-rank-work_26505473 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26505473"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26505473, container: ".js-paper-rank-work_26505473", }); 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$(".js-view-count[data-work-id=26505473]").text(description); $(".js-view-count-work_26505473").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26505473").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26505473"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="388" rel="nofollow" href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a>, <script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="390" rel="nofollow" href="https://www.academia.edu/Documents/in/American_Studies">American Studies</a>, <script data-card-contents-for-ri="390" type="text/json">{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12492" rel="nofollow" href="https://www.academia.edu/Documents/in/Spanish_Linguistics">Spanish Linguistics</a>, <script data-card-contents-for-ri="12492" type="text/json">{"id":12492,"name":"Spanish Linguistics","url":"https://www.academia.edu/Documents/in/Spanish_Linguistics?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15513" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_American_Literature">Contemporary American Literature</a><script data-card-contents-for-ri="15513" type="text/json">{"id":15513,"name":"Contemporary American Literature","url":"https://www.academia.edu/Documents/in/Contemporary_American_Literature?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26505473]'), work: {"id":26505473,"title":"Possible Wor(l)ds: The Social and Literary Significance of Code-Switch Tags in Junot Díaz","created_at":"2016-06-26T05:22:31.072-07:00","url":"https://www.academia.edu/26505473/Possible_Wor_l_ds_The_Social_and_Literary_Significance_of_Code_Switch_Tags_in_Junot_D%C3%ADaz?f_ri=15514","dom_id":"work_26505473","summary":"The aim of this paper is to establish a link between the code-switch \"tags\" in Junot Díaz's work and some formal resources of graffiti artists, in particular their emblematic \"tagz.\" These elements are read together to attest to a battle of the discursive sort being waged in the discursive frontiers of North America, as well as globally in the contact zones between cultures.\n\n\nRESUMEN\nEn este trabajo se analiza la relación entre el la alternancia de lenguas en las narraciones de Junot Díaz y ciertos recursos formales empleados por artistas del graffiti. Estos elementos revelan una batalla por el estilo discursivo que se libra en las tierras fronterizas de América del Norte, y globalmente en zonas de contacto cultural.\n","downloadable_attachments":[{"id":46802226,"asset_id":26505473,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3906493,"first_name":"Juliana","last_name":"Nalerio","domain_name":"stanford","page_name":"JulianaNalerio","display_name":"Juliana Nalerio","profile_url":"https://stanford.academia.edu/JulianaNalerio?f_ri=15514","photo":"https://0.academia-photos.com/3906493/1450484/143713402/s65_juliana.nalerio.jpg"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=15514","nofollow":true},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=15514","nofollow":true},{"id":12492,"name":"Spanish Linguistics","url":"https://www.academia.edu/Documents/in/Spanish_Linguistics?f_ri=15514","nofollow":true},{"id":15513,"name":"Contemporary American Literature","url":"https://www.academia.edu/Documents/in/Contemporary_American_Literature?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514"},{"id":15567,"name":"Diaspora Studies","url":"https://www.academia.edu/Documents/in/Diaspora_Studies?f_ri=15514"},{"id":19915,"name":"Gilles Deleuze and Felix Guattari","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari?f_ri=15514"},{"id":21346,"name":"Graffiti","url":"https://www.academia.edu/Documents/in/Graffiti?f_ri=15514"},{"id":29922,"name":"Latino/as in the U.S.","url":"https://www.academia.edu/Documents/in/Latino_as_in_the_U.S.?f_ri=15514"},{"id":33860,"name":"Spanglish","url":"https://www.academia.edu/Documents/in/Spanglish?f_ri=15514"},{"id":47268,"name":"Bilingualism","url":"https://www.academia.edu/Documents/in/Bilingualism?f_ri=15514"},{"id":88456,"name":"Junot Diaz","url":"https://www.academia.edu/Documents/in/Junot_Diaz?f_ri=15514"},{"id":131779,"name":"Code Switching","url":"https://www.academia.edu/Documents/in/Code_Switching?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_17200276" data-work_id="17200276" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/17200276/Rewilding_Form_Recent_Approaches_to_Complexity_in_Literary_Studies">Rewilding Form: Recent Approaches to Complexity in Literary Studies</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The concept of “rewilding” has made its way into popular culture in recent years, describing a network of supporting the health of the environment and humanity itself through the cultivation of un-cultivated spaces within existing... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_17200276" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The concept of “rewilding” has made its way into popular culture in recent years, describing a network of supporting the health of the environment and humanity itself through the cultivation of un-cultivated spaces within existing structures. This paper looks at recent cutting-edge works in literary criticism and theory to see how they handle this growing contemporary impulse to defer to wildness, ie. Complexity, as the “natural” form of cultural and biological processes.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/17200276" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="33f0e3ee5641b0b767058675331a6922" rel="nofollow" data-download="{"attachment_id":39369109,"asset_id":17200276,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39369109/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26055010" href="https://falmouth.academia.edu/DanielleBarriosONeill">Danielle Barrios-O'Neill</a><script data-card-contents-for-user="26055010" type="text/json">{"id":26055010,"first_name":"Danielle","last_name":"Barrios-O'Neill","domain_name":"falmouth","page_name":"DanielleBarriosONeill","display_name":"Danielle Barrios-O'Neill","profile_url":"https://falmouth.academia.edu/DanielleBarriosONeill?f_ri=15514","photo":"https://0.academia-photos.com/26055010/7154935/13318903/s65_danielle.barrios-o_neill.png"}</script></span></span></li><li class="js-paper-rank-work_17200276 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="17200276"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 17200276, container: ".js-paper-rank-work_17200276", }); });</script></li><li class="js-percentile-work_17200276 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17200276; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_17200276"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_17200276 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="17200276"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17200276; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17200276]").text(description); $(".js-view-count-work_17200276").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_17200276").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="17200276"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="885" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Literature">English Literature</a>, <script data-card-contents-for-ri="885" type="text/json">{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2418" rel="nofollow" href="https://www.academia.edu/Documents/in/Literature">Literature</a>, <script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3155" rel="nofollow" href="https://www.academia.edu/Documents/in/Complexity_Theory">Complexity Theory</a>, <script data-card-contents-for-ri="3155" type="text/json">{"id":3155,"name":"Complexity Theory","url":"https://www.academia.edu/Documents/in/Complexity_Theory?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3516" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_History">Contemporary History</a><script data-card-contents-for-ri="3516" type="text/json">{"id":3516,"name":"Contemporary History","url":"https://www.academia.edu/Documents/in/Contemporary_History?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=17200276]'), work: {"id":17200276,"title":"Rewilding Form: Recent Approaches to Complexity in Literary Studies","created_at":"2015-10-23T02:25:40.709-07:00","url":"https://www.academia.edu/17200276/Rewilding_Form_Recent_Approaches_to_Complexity_in_Literary_Studies?f_ri=15514","dom_id":"work_17200276","summary":"The concept of “rewilding” has made its way into popular culture in recent years, describing a network of supporting the health of the environment and humanity itself through the cultivation of un-cultivated spaces within existing structures. This paper looks at recent cutting-edge works in literary criticism and theory to see how they handle this growing contemporary impulse to defer to wildness, ie. Complexity, as the “natural” form of cultural and biological processes.","downloadable_attachments":[{"id":39369109,"asset_id":17200276,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26055010,"first_name":"Danielle","last_name":"Barrios-O'Neill","domain_name":"falmouth","page_name":"DanielleBarriosONeill","display_name":"Danielle Barrios-O'Neill","profile_url":"https://falmouth.academia.edu/DanielleBarriosONeill?f_ri=15514","photo":"https://0.academia-photos.com/26055010/7154935/13318903/s65_danielle.barrios-o_neill.png"}],"research_interests":[{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=15514","nofollow":true},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=15514","nofollow":true},{"id":3155,"name":"Complexity Theory","url":"https://www.academia.edu/Documents/in/Complexity_Theory?f_ri=15514","nofollow":true},{"id":3516,"name":"Contemporary History","url":"https://www.academia.edu/Documents/in/Contemporary_History?f_ri=15514","nofollow":true},{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=15514"},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=15514"},{"id":8367,"name":"Complexity","url":"https://www.academia.edu/Documents/in/Complexity?f_ri=15514"},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514"},{"id":19471,"name":"Contemporary Poetry","url":"https://www.academia.edu/Documents/in/Contemporary_Poetry?f_ri=15514"},{"id":24769,"name":"Chaos/Complexity Theory","url":"https://www.academia.edu/Documents/in/Chaos_Complexity_Theory?f_ri=15514"},{"id":30516,"name":"Literary Darwinism Or Evolutionary Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Darwinism_Or_Evolutionary_Literary_Theory?f_ri=15514"},{"id":44059,"name":"Social Complexity","url":"https://www.academia.edu/Documents/in/Social_Complexity?f_ri=15514"},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=15514"},{"id":55620,"name":"Systems thinking, complexity science, emergence and organisational development, the application of knowledge from Quakerism to public policy to achieve social enterprise and sustainable development","url":"https://www.academia.edu/Documents/in/Systems_thinking_complexity_science_emergence_and_organisational_development_the_application_of_k?f_ri=15514"},{"id":118994,"name":"Rewilding","url":"https://www.academia.edu/Documents/in/Rewilding?f_ri=15514"},{"id":535402,"name":"Ecological Systems Theory","url":"https://www.academia.edu/Documents/in/Ecological_Systems_Theory?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8125381" data-work_id="8125381" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8125381/_Shanghai_Cosmopolitan_Class_Gender_and_Cultural_Citizenship_in_Weihui_s_Shanghai_Babe_Journal_of_Contemporary_China_12_37_2003_639_653">“Shanghai Cosmopolitan: Class, Gender and Cultural Citizenship in Weihui’s _Shanghai Babe_.” _Journal of Contemporary China_ 12.37 (2003): 639-653. </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In Weihui’s banned novel, _Shanghai Babe_ (1999), the social effects of globalization can be seen in changing ethical discourses concerning what it is to be a responsible citizen, friend or lover. Beginning with a discussion of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8125381" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In Weihui’s banned novel, _Shanghai Babe_ (1999), the social effects of globalization can be seen in changing ethical discourses concerning what it is to be a responsible citizen, friend or lover. Beginning with a discussion of cosmopolitanism and cultural citizenship, this paper explores how class inequalities and gender hierarchies undercut these ideals. For while the novel celebrates cosmopolitan choice and cultural empowerment, its plot also foregrounds the fragility of interpersonal commitments in the face of market capitalism’s promotion of both a culture of immediate pleasure and an elite culture based on deferred gratification. Similarly, the novel celebrates sexual freedom, but its graphic accounts of the protagonist’s sado-masochistic affair with a married German businessman may leave readers wary of the dangers of transgressing conventional norms.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8125381" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="09c09b0daf6f00ea9c5d7f2a9944628b" rel="nofollow" data-download="{"attachment_id":34568975,"asset_id":8125381,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34568975/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13887535" href="https://harvard.academia.edu/SabinaKnight">Sabina Knight</a><script data-card-contents-for-user="13887535" type="text/json">{"id":13887535,"first_name":"Sabina","last_name":"Knight","domain_name":"harvard","page_name":"SabinaKnight","display_name":"Sabina Knight","profile_url":"https://harvard.academia.edu/SabinaKnight?f_ri=15514","photo":"https://0.academia-photos.com/13887535/3847101/165099733/s65_sabina.knight.jpg"}</script></span></span></li><li class="js-paper-rank-work_8125381 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8125381"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8125381, container: ".js-paper-rank-work_8125381", }); 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","created_at":"2014-08-29T03:42:16.533-07:00","url":"https://www.academia.edu/8125381/_Shanghai_Cosmopolitan_Class_Gender_and_Cultural_Citizenship_in_Weihui_s_Shanghai_Babe_Journal_of_Contemporary_China_12_37_2003_639_653?f_ri=15514","dom_id":"work_8125381","summary":"In Weihui’s banned novel, _Shanghai Babe_ (1999), the social effects of globalization can be seen in changing ethical discourses concerning what it is to be a responsible citizen, friend or lover. Beginning with a discussion of cosmopolitanism and cultural citizenship, this paper explores how class inequalities and gender hierarchies undercut these ideals. For while the novel celebrates cosmopolitan choice and cultural empowerment, its plot also foregrounds the fragility of interpersonal commitments in the face of market capitalism’s promotion of both a culture of immediate pleasure and an elite culture based on deferred gratification. Similarly, the novel celebrates sexual freedom, but its graphic accounts of the protagonist’s sado-masochistic affair with a married German businessman may leave readers wary of the dangers of transgressing conventional norms.","downloadable_attachments":[{"id":34568975,"asset_id":8125381,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13887535,"first_name":"Sabina","last_name":"Knight","domain_name":"harvard","page_name":"SabinaKnight","display_name":"Sabina Knight","profile_url":"https://harvard.academia.edu/SabinaKnight?f_ri=15514","photo":"https://0.academia-photos.com/13887535/3847101/165099733/s65_sabina.knight.jpg"}],"research_interests":[{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=15514","nofollow":true},{"id":6185,"name":"Women's Literature","url":"https://www.academia.edu/Documents/in/Womens_Literature?f_ri=15514","nofollow":true},{"id":6579,"name":"Cosmopolitanism","url":"https://www.academia.edu/Documents/in/Cosmopolitanism?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":18901,"name":"Women's Empowerment","url":"https://www.academia.edu/Documents/in/Womens_Empowerment?f_ri=15514"},{"id":24550,"name":"Contemporary China","url":"https://www.academia.edu/Documents/in/Contemporary_China?f_ri=15514"},{"id":27584,"name":"Chinese literature","url":"https://www.academia.edu/Documents/in/Chinese_literature?f_ri=15514"},{"id":194075,"name":"Contemporary Women's Writing","url":"https://www.academia.edu/Documents/in/Contemporary_Womens_Writing?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_213113" data-work_id="213113" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/213113/Drawing_Conclusions_on_Pushkin_s_Evgenii_Onegin_and_Stantsionnyi_smotritel_from_Povesti_Belkina">Drawing Conclusions on Pushkin’s Evgenii Onegin and "Stantsionnyi smotritel'" from Povesti Belkina</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/213113" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="edb408e8e123b2a5fd467d14315599f0" rel="nofollow" data-download="{"attachment_id":687797,"asset_id":213113,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/687797/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="125248" href="https://otago.academia.edu/JacobEdmond">Jacob Edmond</a><script data-card-contents-for-user="125248" type="text/json">{"id":125248,"first_name":"Jacob","last_name":"Edmond","domain_name":"otago","page_name":"JacobEdmond","display_name":"Jacob Edmond","profile_url":"https://otago.academia.edu/JacobEdmond?f_ri=15514","photo":"https://0.academia-photos.com/125248/33466/30747/s65_jacob.edmond.jpg"}</script></span></span></li><li class="js-paper-rank-work_213113 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="213113"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 213113, container: ".js-paper-rank-work_213113", }); 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Zum Altersmotiv im Generationenroman der Gegenwartsliteratur</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Dieser Aufsatz befasst sich mit der Altersdarstellung in zwei beispielhaften Generationenromanen der deutschsprachigen Gegenwartsliteratur, Clemens Setz’ Die Frequenzen (2009) und Tilman Rammstedts Der Kaiser von China (2008). Drei... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31199304" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dieser Aufsatz befasst sich mit der Altersdarstellung in zwei beispielhaften Generationenromanen der deutschsprachigen Gegenwartsliteratur, Clemens Setz’ Die Frequenzen (2009) und Tilman Rammstedts Der Kaiser von China (2008). Drei Aspekte stehen im Zentrum der Analyse: Erstens ist in Einklang mit der soziologischen Forschung zu beobachten, dass Alter in der Gegenwartsliteratur nicht als bloße biologische Tatsache, sondern als soziale Leistung begriffen wird. Je nachdem, ob und wie gut diese Leistung erbracht wird, entwirft die Gegenwartsliteratur Bilder eines „guten“ und „schlechten“ Alter(n)s. Um die Problemstellung adäquat zu erfassen, werden zweitens spezifische diskurs- und wissensgeschichtliche Kontexte fruchtbar gemacht, denn Alter wird etwa in Abhängigkeit von Gender unterschiedlich funktionalisiert. Der Fokus unserer Untersuchung liegt auf „männlichen“ Alterungsprozessen, deren Prekarität in der Forschung zu aktuellen Generationenromanen noch kaum registriert wurde. Drittens zeigt die vorliegende Arbeit, dass das Alter mit gattungsspezifischen Schreibverfahren des Generationenromans der Gegenwartsliteratur assoziiert ist, insbesondere mit der „therapeutischen“ Narrativierung der Familiengeschichte.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31199304" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e651410f34fd95c236a100d4c7f5e5bf" rel="nofollow" data-download="{"attachment_id":60746399,"asset_id":31199304,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60746399/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="39035272" href="https://ethz.academia.edu/JoannaNowotny">Joanna Nowotny</a><script data-card-contents-for-user="39035272" type="text/json">{"id":39035272,"first_name":"Joanna","last_name":"Nowotny","domain_name":"ethz","page_name":"JoannaNowotny","display_name":"Joanna Nowotny","profile_url":"https://ethz.academia.edu/JoannaNowotny?f_ri=15514","photo":"https://0.academia-photos.com/39035272/10793666/12047475/s65_joanna.nowotny.jpg"}</script></span></span></li><li class="js-paper-rank-work_31199304 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31199304"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31199304, container: ".js-paper-rank-work_31199304", }); 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$(".js-view-count[data-work-id=31199304]").text(description); $(".js-view-count-work_31199304").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31199304").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31199304"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="696" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3773" rel="nofollow" href="https://www.academia.edu/Documents/in/Literary_Criticism">Literary Criticism</a>, <script data-card-contents-for-ri="3773" type="text/json">{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="34327" rel="nofollow" href="https://www.academia.edu/Documents/in/Intersectionality">Intersectionality</a><script data-card-contents-for-ri="34327" type="text/json">{"id":34327,"name":"Intersectionality","url":"https://www.academia.edu/Documents/in/Intersectionality?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31199304]'), work: {"id":31199304,"title":"»Hölle der Narrenfreiheit«. Zum Altersmotiv im Generationenroman der Gegenwartsliteratur","created_at":"2017-02-03T05:44:05.930-08:00","url":"https://www.academia.edu/31199304/_H%C3%B6lle_der_Narrenfreiheit_Zum_Altersmotiv_im_Generationenroman_der_Gegenwartsliteratur?f_ri=15514","dom_id":"work_31199304","summary":"Dieser Aufsatz befasst sich mit der Altersdarstellung in zwei beispielhaften Generationenromanen der deutschsprachigen Gegenwartsliteratur, Clemens Setz’ Die Frequenzen (2009) und Tilman Rammstedts Der Kaiser von China (2008). Drei Aspekte stehen im Zentrum der Analyse: Erstens ist in Einklang mit der soziologischen Forschung zu beobachten, dass Alter in der Gegenwartsliteratur nicht als bloße biologische Tatsache, sondern als soziale Leistung begriffen wird. Je nachdem, ob und wie gut diese Leistung erbracht wird, entwirft die Gegenwartsliteratur Bilder eines „guten“ und „schlechten“ Alter(n)s. Um die Problemstellung adäquat zu erfassen, werden zweitens spezifische diskurs- und wissensgeschichtliche Kontexte fruchtbar gemacht, denn Alter wird etwa in Abhängigkeit von Gender unterschiedlich funktionalisiert. Der Fokus unserer Untersuchung liegt auf „männlichen“ Alterungsprozessen, deren Prekarität in der Forschung zu aktuellen Generationenromanen noch kaum registriert wurde. Drittens zeigt die vorliegende Arbeit, dass das Alter mit gattungsspezifischen Schreibverfahren des Generationenromans der Gegenwartsliteratur assoziiert ist, insbesondere mit der „therapeutischen“ Narrativierung der Familiengeschichte.","downloadable_attachments":[{"id":60746399,"asset_id":31199304,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":39035272,"first_name":"Joanna","last_name":"Nowotny","domain_name":"ethz","page_name":"JoannaNowotny","display_name":"Joanna Nowotny","profile_url":"https://ethz.academia.edu/JoannaNowotny?f_ri=15514","photo":"https://0.academia-photos.com/39035272/10793666/12047475/s65_joanna.nowotny.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=15514","nofollow":true},{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=15514","nofollow":true},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":34327,"name":"Intersectionality","url":"https://www.academia.edu/Documents/in/Intersectionality?f_ri=15514","nofollow":true},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=15514"},{"id":69256,"name":"Generations","url":"https://www.academia.edu/Documents/in/Generations?f_ri=15514"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4385987" data-work_id="4385987" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/4385987/First_Edition_Literature_and_Alcohol_Interview_with_NTS_Radios_Carrie_Plitt_about_alcohol_and_literature_Why_do_writers_drink">First Edition: Literature and Alcohol. Interview with NTS Radio's Carrie Plitt about alcohol and literature. Why do writers drink? </a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4385987" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1050036" href="https://ucl.academia.edu/OctaviaBright">Octavia Bright</a><script data-card-contents-for-user="1050036" type="text/json">{"id":1050036,"first_name":"Octavia","last_name":"Bright","domain_name":"ucl","page_name":"OctaviaBright","display_name":"Octavia Bright","profile_url":"https://ucl.academia.edu/OctaviaBright?f_ri=15514","photo":"https://0.academia-photos.com/1050036/361806/16551115/s65_octavia.bright.jpg"}</script></span></span></li><li class="js-paper-rank-work_4385987 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4385987"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4385987, container: ".js-paper-rank-work_4385987", }); });</script></li><li class="js-percentile-work_4385987 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4385987; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_4385987"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_4385987 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="4385987"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4385987; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4385987]").text(description); $(".js-view-count-work_4385987").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4385987").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="4385987"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15514" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a>, <script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="864175" rel="nofollow" href="https://www.academia.edu/Documents/in/Alcohol_Addiction">Alcohol Addiction</a><script data-card-contents-for-ri="864175" type="text/json">{"id":864175,"name":"Alcohol Addiction","url":"https://www.academia.edu/Documents/in/Alcohol_Addiction?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4385987]'), work: {"id":4385987,"title":"First Edition: Literature and Alcohol. Interview with NTS Radio's Carrie Plitt about alcohol and literature. Why do writers drink? ","created_at":"2013-09-01T23:56:29.103-07:00","url":"https://www.academia.edu/4385987/First_Edition_Literature_and_Alcohol_Interview_with_NTS_Radios_Carrie_Plitt_about_alcohol_and_literature_Why_do_writers_drink?f_ri=15514","dom_id":"work_4385987","summary":null,"downloadable_attachments":[],"ordered_authors":[{"id":1050036,"first_name":"Octavia","last_name":"Bright","domain_name":"ucl","page_name":"OctaviaBright","display_name":"Octavia Bright","profile_url":"https://ucl.academia.edu/OctaviaBright?f_ri=15514","photo":"https://0.academia-photos.com/1050036/361806/16551115/s65_octavia.bright.jpg"}],"research_interests":[{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=15514","nofollow":true},{"id":864175,"name":"Alcohol Addiction","url":"https://www.academia.edu/Documents/in/Alcohol_Addiction?f_ri=15514","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45163858" data-work_id="45163858" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45163858/Syllabus_for_LITR_451_World_Writers_Black_Novels_Matter_">Syllabus for LITR 451 (World Writers: Black Novels Matter)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">These is the syllabus for LITR 451, which was taught as part of a pair of concurrent courses taught entirely virtually at the intermediate and advanced level during the pandemic-era Spring 2021 semester. At both levels, the course offered... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45163858" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">These is the syllabus for LITR 451, which was taught as part of a pair of concurrent courses taught entirely virtually at the intermediate and advanced level during the pandemic-era Spring 2021 semester. At both levels, the course offered students a sampling of fiction by nine different African American (defined broadly as being an author with some measure of personal, familial, and/or cultural association with both Africa and North America) authors who published within the last ten years, including Nana Kwame Adjei-Brenyah, Esi Edugyan, Akwaeke Emezi, Tope Folarin, Yaa Gyasi, Okey Ndibe, Nafissa Thompson-Spires, Jesmyn Ward, and Colson Whitehead.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45163858" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bf9bce1bd816c1f0ba80c1e209735676" rel="nofollow" data-download="{"attachment_id":65742229,"asset_id":45163858,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65742229/download_file?st=MTczOTkwMTYwMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1087186" href="https://potsdam.academia.edu/DerekCMaus">Derek C. Maus</a><script data-card-contents-for-user="1087186" type="text/json">{"id":1087186,"first_name":"Derek C.","last_name":"Maus","domain_name":"potsdam","page_name":"DerekCMaus","display_name":"Derek C. Maus","profile_url":"https://potsdam.academia.edu/DerekCMaus?f_ri=15514","photo":"https://0.academia-photos.com/1087186/377060/456927/s65_derek_c..maus.jpg"}</script></span></span></li><li class="js-paper-rank-work_45163858 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45163858"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45163858, container: ".js-paper-rank-work_45163858", }); });</script></li><li class="js-percentile-work_45163858 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45163858; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_45163858"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_45163858 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="45163858"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45163858; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45163858]").text(description); $(".js-view-count-work_45163858").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45163858").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45163858"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="10" rel="nofollow" href="https://www.academia.edu/Documents/in/American_Literature">American Literature</a>, <script data-card-contents-for-ri="10" type="text/json">{"id":10,"name":"American Literature","url":"https://www.academia.edu/Documents/in/American_Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="296" rel="nofollow" href="https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies">Black Studies Or African American Studies</a>, <script data-card-contents-for-ri="296" type="text/json">{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2418" rel="nofollow" href="https://www.academia.edu/Documents/in/Literature">Literature</a>, <script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=15514","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2621" rel="nofollow" href="https://www.academia.edu/Documents/in/Higher_Education">Higher Education</a><script data-card-contents-for-ri="2621" type="text/json">{"id":2621,"name":"Higher Education","url":"https://www.academia.edu/Documents/in/Higher_Education?f_ri=15514","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45163858]'), work: {"id":45163858,"title":"Syllabus for LITR 451 (World Writers: Black Novels Matter)","created_at":"2021-02-21T08:48:10.980-08:00","url":"https://www.academia.edu/45163858/Syllabus_for_LITR_451_World_Writers_Black_Novels_Matter_?f_ri=15514","dom_id":"work_45163858","summary":"These is the syllabus for LITR 451, which was taught as part of a pair of concurrent courses taught entirely virtually at the intermediate and advanced level during the pandemic-era Spring 2021 semester. At both levels, the course offered students a sampling of fiction by nine different African American (defined broadly as being an author with some measure of personal, familial, and/or cultural association with both Africa and North America) authors who published within the last ten years, including Nana Kwame Adjei-Brenyah, Esi Edugyan, Akwaeke Emezi, Tope Folarin, Yaa Gyasi, Okey Ndibe, Nafissa Thompson-Spires, Jesmyn Ward, and Colson Whitehead.","downloadable_attachments":[{"id":65742229,"asset_id":45163858,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1087186,"first_name":"Derek C.","last_name":"Maus","domain_name":"potsdam","page_name":"DerekCMaus","display_name":"Derek C. 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href="#">more</a></div><div class="complete hidden">Reprenant partiellement mon mémoire de master II, ce dossier aborde l'histoire des éditions Lug, principal importateur des comics Marvel entre 1969 et 1989 en France, évoquant à la fois la biographie de ses membres fondateurs, la pression de la loi de contrôle de 1949 et les méthodes employés pour la traduction et l'adaptation.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37770204" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="13b152275722dc256fa0b7d6c9aff427" rel="nofollow" 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AML)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Compte-rendu de l'exposition "Paul Willems : le ludique et le tragique", organisée par les Archives et Musée de la Littérature (Bruxelles), du 20 juin 2018 au 19 octobre 2018. <br />Commissaires d'exposition : Christophe Meurée et Saskia Bursens</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37399614" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3b08af1bd0bd6b138220eeb80406edb4" rel="nofollow" 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