History of European ideas

This essay explores one of the potential implications of the cross-displinary work implied in the idea of a literary instrument of enlightenment through a consideration of the relationship between James Macpherson's The Poems of Ossian (1761–1763) and their most immediate social-political context, Adam Ferguson's Essay on the History of Civil Society (1769). It notes that revisionism of Macpherson that has tended to minimise the disruptive elements in Ossian in favour of a reading in terms of cultural wishfulfilment. The essay argues however that while Macpherson's prose theorising seeks to transcend the anxieties about progress and corruption articulated in the Essay, the peoms themselves offer eloquent testimony to the force of those anxieties, and rather than solving them restates them in pressing terms. This, the essay concludes by suggesting, is a measure of their literariness, and it not to be elided in the otherwise entirely appropriate reading of Ossian as a literary instrument of enlightenment.     

Challenging the Quimera (Sirena) Negra: Unamuno Reads Pardo Bazán

This article examines the literary relationship of Emilia Pardo Bazán and Miguel de Unamuno by analyzing Unamuno's 1905 review of La Quimera, as well as his tribute to Pardo Bazán on the occasion of her death in 1921. These two critical pieces, together with Unamuno's Dos madres and La tía Tula, reveal that while Unamuno dismisses Pardo Bazán's realism in his discussion of her works, he develops in his own fiction alter egos who struggle with dominant female figures, just as he competes with Pardo Bazán's model of authorship.     

Jean Renoir,The Rules of the Game,Reputation, and Revisionism

Jean Renoir's film La Règle du jeu (The Rules of the Game) was first shown in Paris, in 1939, and is now generally regarded as one of his masterpieces. But there is a strange side to the film. What most critics and reference books say concerning it—and they tend to say much the same thing—does not, to put it bluntly, square with the facts. What they say is that La Règle du jeu is about an aristocratic house-party that is a microcosm of the corruptness and exhaustion of French society on the eve of World War II. Far from perceiving in La Règle du jeu evidence of the “corruption” and “exhaustion” in French society that led to the country's defeat and occupation by the Germans during World War II, however, the author of this essay attempts to see the film for what it is—not for what historicist critics want it to be.     

Provocation Versus Performativity: Launching la littérature coloniale française in 1909

In 1909, the colonial newspaper La Dépêche coloniale launched an enquiry entitled La Littérature coloniale de la France comparée à celle d'Angleterre. It was through this initiative that the idea of a ‘French colonial literature’ first caught wider public attention and generated polemics in literary circles and beyond. The aim of this article is to study the aesthetic and ideological agendas driving the enquiry and the polarised reactions it produced, from a sociological perspective inspired by Pierre Bourdieu's work. The author argues that La Dépêche coloniale's questionnaire encoded a set of assumptions designed to guide the answers and impose a vision of colonial literature, rather than elicit debate. One of the respondents, Pierre Mille (1864–1941), preferred provocation: in a piece published in a high-circulation daily Le Temps ahead of the results of La Dépêche coloniale's enquiry, he proclaimed Rudyard Kipling to be the model colonial author, only to conclude that French colonial literature was inexistent. The ensuing debate marked a watershed in the conceptualisation and the institutionalisation of French colonial literature, by setting in motion a process that would be brought to completion in the interwar period.     

Oliver O'Donovan's Critique of Autonomy

Abstract

More than any other contemporary theologian, Oliver O'Donovan has revived political theology as a field of enquiry. Yet O'Donovan has been consistent in his critique of the modern idea of autonomy, judging it to be at odds with the more communitarian idea of covenanted community found in the Hebrew Bible/Old Testament. He contrasts this modern idea, and its political implications, with the older biblical idea, also adding some basic points from Aristotle's idea of the polis. But unlike many contemporary communitarians, O'Donovan is also able to incorporate the idea of human rights into his political theology. He sees this supposedly modern idea having fuller precedence in the biblical idea of mishpat ("justice"), which he takes to be God's primordial claim on His covenanted community, a claim that sufficiently grounds both individual rights and communal rights and which enables them to function together. However, O'Donovan draws the line when it comes to the modern social contract theory, arguing that it is at odds with biblical teaching that the primary responsibility of rulers is to divine law. While agreeing with O'Donovan's rejection of autonomy and his acceptance of human rights, this paper argues against O'Donovan's theological rejection of social contract theory. Instead, it argues that a social contract is consistent with the doctrine of the covenant; indeed that the very possibility of the social contract is best explained by the doctrine of the covenant, and that this acceptance of the social contract serves the best political interests of covenanted communities (like the Jewish People and the Christian Church) in an otherwise secular world.     

Marie Corelli and the Value of Literary Self-Consciouness: The Sorrows of Satan,Popular Fiction,and the Fin-de-Siècle Canon

Marie Corelli's The Sorrows of Satan (1895) presents a paradoxical test case for the practice of academic literary criticism. The best-selling work of fiction of the nineteenth century, the book was demeaned by Victorian critics and has been long ignored by criticism since. In spite of Corelli's recent mini-revival, the formally self-conscious properties of this work deserve further examination: the text insistently foregrounds the act of literary criticism and demands that the reader's attention is focussed on not only the content of the narrative but also the nature of the procedure of reading. Such a strategy allows Corelli's romance to participate safely in the kinds of literary transgressions enacted in the work of her since-canonized contemporaries such as Thomas Hardy and Oscar Wilde. The narrative mode warns against the production of the wrong kinds of readings of the narrative, inoculating its consumer against the corruption suffered by many of Sorrows's characters – and by the readers of the kinds of contemporary fiction Corelli seeks to warn against. As a consequence, The Sorrows of Satan, while exiled from the canon, shows itself to be surprisingly representative of the image of fin-de-siècle literary culture constructed by its afterlife. Like so many 1890s fictions, it is a work of art about the work of art, and dramatizes such by now familiar late-Victorian tropes as: decadence, moral relativism, debates over literary taste, realism, post-Ibsen drama, the sexual double standard, the marriage market, the New Woman, motherhood, hysteria and female pathologies, degeneration anxiety, mesmerism. The Sorrows of Satan's status as forgotten best-seller, a ‘great bad book’, asks difficult questions about the relationship between literary criticism and literary pleasure.     

“‘Ruottiksi’, translated Paul Muotka patiently. ‘Kiitos.’” Mikael Niemi,Meänkieli and Readers Inside and Outside Tornedalen

The present study in the research field of literary multilingualism and literary codeswitching is based on Mikael Niemi's novel Mannen som dog som en lax (2006) [The man who died like a salmon]. The novel is set mainly in Tornedalen, a widely bilingual area in Sweden where many people speak both Swedish and Meänkieli, a national minority language in Sweden since 2000. All instances of codeswitching in the material studied were identified and an analysis, based on Eriksson and Haapamäki's model designed to analyse literary multilingualism and literary codeswitching, was performed. The model consists of three main components: (1) the communicative context of the analysed work; (2) the form of codeswitching in the analysed work; and (3) the possible literary functions of codeswitching in the analysed work. The sender, Mikael Niemi, does not consider himself bilingual and most intended receivers are not bilingual either, even though linguistic conditions are central to the theme of the novel. Swedish is the base language of the novel, while elements of Meänkieli/Finnish, varieties of Swedish, and other languages represent a small fraction of the entire text. Implicit literary codeswitching predominates in the material in the form of metalinguistic comments and contextualization cues. By far the most common type of explicit literary codeswitching is between Swedish and Meänkieli/Finnish. The novel contains examples of literary codeswitching used in attempts to reproduce authentic usage and depict an authentic linguistic setting. In other examples, Tornedalen, Tornedalians and Meänkieli/Finnish are depicted as exotic phenomena compared with the majority society. Likewise, there are examples of how certain passages in the novel may include or exclude readers, depending on their understanding of Meänkieli/Finnish. Certain elements of Meänkieli can be interpreted as expressions of linguistic emancipation and the liberation of identity that empowers speakers of Meänkieli and the community of these speakers.     

Matéo Maximoff's La Septième fille: A Roma Testimony of Internment and Assimilation

Set in the internment camp at Lannemezan where the author and his family spent two years, Matéo Maximoff's La Septième fille gives a voice to a minority group that has suffered from negative stereotypes since its arrival in France in the Middle Ages. In that work, Maximoff, the first authentic Roma novelist, blends folklore and oral tradition with historical fact, chronicling the conditions in the camp at Lannemezan even as he spins a supernatural tale worthy of the most gifted of conteurs. Informed by historical sources and ethnographic studies, this article suggests that La Septième fille may be read as a metaphor for the internment of the Roma by the Vichy regime and the policies aimed at ‘socialising’ and forcing them to become sedentary, policies that began during the Third Republic and that continued well into the twentieth century. La Septième fille is one of the rare literary works (along with Didier Daeninckx's La Route du Rom, 2003) to treat the little-known Vichy initiative of interning Roma—the majority of whom were French citizens—in 31 camps around France.     

CLASS OR COMMUNITY? MARX,THE RUSSIAN COMMUNE,AND CONTEMPORARY CRITICAL THEORY

This article explores the relationship between class and community through a discussion of peasant struggles and the commune during the Russian Revolution. Doing so, we show how Marx's class‐oriented reflections on community can help us to understand the role that the peasantry plays (or should play) in processes of social transformation. This enables us, first, to understand the relevance of communal forms for Marx, who believed that communitarian ways of life were crucial for overcoming a value‐based society. It is, in fact, a mistake to divide Marx's intellectual trajectory into two periods: a categorical Marx, who authored Capital and critically analyzed the classical theory of value, and a phenomenological, empirical Marx, who in the last years of his life abandoned writing Capital and focused instead on studying the Russian peasantry. Second, it enables us to discuss new externalist visions, such as postcolonial and decolonial theories, which postulate that the subordination of contemporary peasant communities is rooted in epistemology, culture, and local power relations. These theories are related to the old social‐democratic canon, which conceives of social classes as preconstituted entities and of capital as a parasitic externality that is incommensurable with social dynamics. The experience of the Russian peasantry calls into question all externalist and ontological perspectives.     

Wenceslao Fernández Flórez: The Evolution of His Technique in his Novels

The widely divergent and sometimes hostile reactions to literary texts whose writers use irony signal the complexity of this type of interaction between writer, reader, and text. Particularly when there is also an ironic main character, varied understandings of these texts can reveal a shifting network of discursive communities. Linda Hutcheon's Irony's Edge: The Theory and Politics of Irony analyzes how and why these communities are formed or disrupted. Maryse Condé's Hérémakhonon and Mongo Beti's Mission terminée are examples of texts whose writers were criticized for reasons that appear to be related to the ways in which the irony of both writer and narrator led to a disruption of the discursive communities whose shared contexts make irony possible.     

French Intellectuals and the Iraq War

Because of its representation of marginal and often violent milieux, the status of noir fiction has long been that of an ‘inferior’, less ‘literary’ genre. It could be argued that its frequent references to popular culture, and especially television and film, explain its appeal to a wide audience, one that does not necessarily read other genres. The intrigue and setting of the noir novel enables it to be perceived primarily as a ludic activity while often dealing with issues which are both political and ideological. Brigitte Aubert's work makes frequent references to film, TV and popular literature, and this article aims to examine the way these are used, how they play with notions of reality and fiction, how they can create an ironic distance which allows the writer both to create a sense of complicity with the reader and to criticise the society she presents.     

La Quintrala's Confessions: The Contesting of Female Agency and Indigeneity in Two Popular Chilean Visual Narratives

Doña Catalina de los Ríos y Lisperguer, known as ‘La Quintrala,’ a seventeenth-century aristocratic woman of mixed ancestry accused of torture, witchcraft, and murder, has persisted as a recurring figure in the Chilean imaginary. While literary representations of this figure have been well explored, this article contributes an examination of two visual narratives, paying particular attention to the manner in which genre and context influence the repurposing of this violent woman: the 1986 teleserie La Quintrala, produced by Chile's state-owned television station (TVN), and the Chilean newspaper Las últimas noticias's 2008 comic ‘La Quintrala y el Cristo de Mayo.’ The teleserie, a product of the Pinochet era, positions her as an antithesis to the ideal Chilean woman, simultaneously denying her agency and condemning her. The comic echoes the rhetoric of the Concertación governments as it prominently links La Quintrala's downfall and redemption to the genesis of modern Chile at the cost of her distinctive racial and gendered characteristics. Ultimately, each work employs the structure of confession to recall her crimes while rejecting the female agency and racially mixed heritage La Quintrala represents.     

Syrian refugee resettlement and the role of local immigration partnerships in Ontario,Canada

We examine Canada's recent Syrian Refugee Resettlement Initiative (SRRI) paying close attention to the resettlement role played by mid‐sized urban communities. We elaborate on a key policy dimension at work at this scale of action: local immigration partnerships (LIPs). We start with a very brief review of Canada's history of mass refugee resettlement. Second, we assess the policy of LIPs, particularly how they have been presented as a form of “place‐based policy,” and third, we offer an overview of the role the LIPs played in three case study communities (Hamilton, Ottawa, and Waterloo) during the SRRI. Finally, we present three overarching themes that emerged from our research in each of these communities: the importance of each community's history of immigration and refugee resettlement; the embeddedness of the LIP and its leadership in the local community; and how the positioning of each LIP relative to the three levels of government and its official Resettlement Assistance Program agreement holders impacted its ability to act. The history, location, and place characteristics of each community influenced the nature of intersectoral and intergovernmental relations in distinctive ways, and differentially shaped the effectiveness of each LIP's ability to contribute to the SRRI.     

Death in three scenes of recitation

In the discourse of Bhagat Singh and his comrades, their own death is not presented merely as a necessary means towards a desired political end. Instead, it is often invested with an intense significance that exceeds its political function. This essay proposes that literary and poetic tropes borrowed from available languages of love, revolution, and religion played a central role in this imagining of death. It argues that we cannot comprehend the sphere of the political inhabited by Bhagat Singh, Ram Prasad Bismil, and their comrades without taking seriously this literary dimension. Political action, in this sphere, in large measure depended on “reciting”—that is to say, appropriating and performing—gestures, phrases, and stances learnt from an astonishingly varied repertoire of literary texts. The essay also critically examines contemporary recitations of the work of the revolutionaries, with special attention to the discourse of the right-wing Bhagat Singh Kranti Sena on the one hand, and that of the popular film Rang de Basanti (2006) on the other. It argues that such appropriations focus only on the revolutionaries’ fidelity to the nation, while neglecting or repressing the critique of the state evident in Bhagat Singh's work, and especially in his admiration of the anarchists.     

A Byzantine hagiographical parody: Life of Mary the Younger

Abstract

In this paper, it is argued that The Life of Mary the Younger, an anonymous Byzantine text of the eleventh century, has a conscious intertextual dialogue with the oldest Byzantine Life venerating a holy woman, the Life of Macrina written by her brother, Gregory of Nyssa, between 380 and 383. The intertextual relation between these two female Lives takes the form of parody. Following Linda Hutcheon's theory of parody, this article shows how the anonymous hagiographer of Mary reworks Gregory's authoritative text to create a new work, a parody in terms of postmodern literary criticism, whose aim was to criticise old and contemporary customs, conventions and ideologies. In other words, the present article approaches and decodes the literariness, the function and ideology of Mary's Life in the light of Macrina's Life.     

Liberation and literature: Naples 1944

The arrival of Anglo‐American forces in Naples on 1 October 1943 precipitated the structural crisis which had beset the capital of the south since its integration into the Italian nation‐state in 1860. This crisis had been masked by the reassuringly engaging ethos of napoletanità, encoded in the urban dialect and crystallized in its literary culture from Matilde Serao and Salvatore Di Giacomo onwards. The myth of napoletanità had been frozen under Fascism, but was shattered by the experience of the war years and after, and only factitiously restored under the political hegemony of the monarchist ship owner Achille Lauro during the 1950s. Young literary Americans such as John Home Burns and William Weaver, who found themselves in Naples with the occupying Allied forces, fell under its spell, while the equally young British military intelligence officer Norman Lewis maintained a detached, but sympathetic, objectivity. The older Tuscan writer, Curzio Malaparte, so provocatively transformed the image of Naples as to earn furious rejection by the city's dominant postwar political circles and by Italy's literary circles. Yet, despite brilliant attempts at restoration by the departed Neapolitan, Giuseppe Marotta, and the much‐loved actor‐playwright Eduardo De Filippo, napoletanità was systematically undermined and demolished by younger Neapolitan writers from Domenico Rea and Anna Maria Ortese to Raffaele La Capria as the city's urban fabric was transformed by appallingly irresponsible property speculators. This article focuses on the literary anthropology of Naples in the 1940s. It explores literary texts and contexts, and the way they problematize Naples as a unified subject or object. It addresses the paradoxical issue of the city's need for liberation from itself, and the time scale of a liberation that perhaps has always been and always will be in fieri.     

Strange associations: Elizabeth Bowen and the language of exclusion

Since The Last September was first published in 1929, the novel's style has been a major source of controversy amongst Elizabeth Bowen's critics, many of whom align the work with reactionary feeling among the Anglo-Irish community in early 1920s Ireland. This longstanding view ignores, I think, a complex but critically overlooked aspect not only of The Last September but also of Bowen's many opinions about the novel form: the author's fascination with the language of exclusion. In this essay I argue that Bowen's use of literary devices in The Last September that rely on exclusion – including ellipses, euphemism, rumour, overheard conversation, narrative digression, and lying – dramatise the ways in which war disorients figurative language and, in so doing, subverts and transforms the apparently stable metaphors through which the Anglo-Irish sought to reconcile events occurring in September 1920, that fitful last September of the Republic's colonial ties to England, with their historical role as settler-colonialists in Ireland. Further, Bowen's experimental style disorients the reader, thereby undermining any confidence in the legitimacy of Ascendancy protocol, or the morality of British colonialism, or the militant expression of Irish nationalism, and leads instead to an emergent, though ultimately unfulfilled, cosmopolitan vision of late modernist Ireland.     

Nietzsche's Political Critique of Modern Science

Abstract

Contrary to the claims that The Brothers Karamazov is a polyphonic novel, in which the author's own views are irrelevant to its interpretation, and that Dostoevsky himself was unable to furnish an adequate defense of Christianity after Book V, the author shows how Zossima's doctrines of active love and responsibility for all are the interpretive keys to the novel. This so-called “unity in diversity” in Bakhtin's literary criticism thereby provide a compelling alternative vision of community from the Grand Inquisitor's.     

Neurology and Literature, 1860–1920 by Anne Stiles (ed.)

Abstract

Research from many perspectives has been made on the work of the French neurologist, J.‐M. Charcot (1825–1893) with particular reference to his fame for his studies and “construction”; of hysteria. What has not been demonstrated so far is the extent to which Charcot's construction can be explained by the perceived relationship between hysteria and epilepsy and Charcot's access to epileptic patients at La Salpêtrière. From the confusion that reigned concerning hysteria and epilepsy, both separately and in relation to each other, Charcot claimed to have isolated hysteria as a distinctive and universal pathology. This claim was partly based on the “grande attaque”;, representing the most intense degree of hysteria. A comparison with Gowers, the contemporary English neurologist suggests that diagnosis was the function of the practitioners’ preferences; and a linguistic analysis pinpoints Charcot's problems in describing an isolated pathology in terms of its relation to its neighbour, epilepsy.     

On Will and Reason in L'astrée

This article sheds light on the technique of amplificatio by which Boccaccio expands the stories of famous women he finds in Valerius Maximus's De fide uxorium. Boccaccio's work on famous women situates itself between the genres of fiction and the historical treatise. It analyzes in philological detail Boccaccio's citation technique and his elaboration of the ancient model, showing how the greatest narrator of the Italian Middle Ages revitalizes and actualizes it and crafts an original literary product.