A Japanese “Girl's Reading” of Dostoevsky's Poor Folk: Senuma Kayô and the Origins of Japanese “Girls' Literature”

Senuma Kayô (1875–1915) was Japan's first woman translator from Russian. She is now remembered mainly for her translations from Chekhov. This paper examines one of Kayô's early works, Mazushiki shôjo (A Poor Girl, 1904), translated from Dostoevsky's Poor Folk, which was one of the first Japanese translations of a work by Dostoevsky to be made directly from the Russian original. Kayô chose to translate only a part of Dostoevsky's work, focusing on the memoir of the character Varvara, in which her first love and its tragic end are recounted. While the central theme of Dostoevsky's work is poverty and its impact on human relationships, in Kayô's translation the central theme is Varvara's misfortune in love. In this emphasis Kayô found a “girl's story” in Dostoevsky's novel, and Mazushiki shôjo foreshadowed a new wave of Japanese girls' literature, which attracted many new female readers. Kayô's translation style is examined to see how it contributed to the development of a style appropriate to girls' story writing.     

War-Games in the Song of Songs: A Reading of Song 2,4 in Light of Cognitive Linguistics

While the Song of Songs is often considered a tender love po-em, it also uses military metaphors to describe the loving relationship of its characters. This suggests that the Song’s concept of love may be more com-plex and perhaps more paradoxical than is usually assumed. Cognitive Lin-guistics, which currently represents the central point of reference for the study both of ordinary and literary metaphors, can shed light on the Song’s concep-tualization of love in terms of war. The present article provides i) a presenta-tion of some insights on metaphorical phenomena coming from Cognitive Linguistics, and ii) a reading of a paradigmatic warlike metaphor, i.e. Song 2,4, in light of this new, pioneering approach.     

The Tragedy of Politics: Shakespeare's Antony and Cleopatra

Abstract

In Antony and Cleopatra, Shakespeare uses the story of the two lovers to dramatize the tragedy of politics. The excessive love of self that characterizes the two serves as a metaphor for the larger story of Rome's descent into tyranny. Unless love of country, that is, love of one's fellow-citizens, tempers self-love, a state loses its capacity to sustain even that degree of freedom that belongs to kingly rule. But Shakespeare also depicts the love of Antony and Cleopatra for each other as something noble; there is something worthy of our love that is higher than freedom. The tragedy of politics lies in the opposition of these two loves.     

The meaning of El Roi and the mythological dimension in Genesis 16

Abstract

This article discusses the literary debt of the story of Hagar in Genesis 16 to the Ugaritic text KTU 1.23, suggesting that behind the present tale lie ancient royal ideological motifs. These have a bearing on the present form of the story, ans suggest a message of hope to an exilic readership. The divine epithet Roi is explained as “seen”, expressing Hagar's surprise at surviving a vision of God.     

"More than seven sons": Ruth as example of the good son

The Book of Ruth is a beautiful story about faithfulness, love, and the blessing of Yahweh, but it also consists of hints and clues that might seem unmotivated or loose. The name of the book, the connection to the days when the judges ruled, the storytellers discreet commentaries through the story, are some examples of such hints and clues. They give the text an atmosphere that disturbs the idyllic, naïve impression usually associated with Ruth . If we focus on the expression "more then seven sons" at the end of the story, and understand Ruth in the role as Naomi's son, many of these hints and clues fall into place. This article goes through the Book of Ruth focusing on this interpretation. With Ruth as the example of the good son, other sons, within or surrounding Ruth , fall short.     

Interrupting Augustine: Hermeneutics,Allegory, and Irony in El perro del hortelano

Whatever else El perro del hortelano might be, it is a deeply ironic text about the difficulties of reading. The play not only stages acts of reading and writing where irony disrupts understanding, it is itself an ironic reading of Augustine's moment of conversion that shows the difficulty of allegorical and programmatic readings.     

宋代楚辞要籍题解

宋代楚辞学的繁荣,首先表现为义理探求的研究特征,代表著作为洪兴祖《楚辞补注》、朱熹《楚辞集注》。洪氏校订原文,阐扬义理,为后人探寻屈原之生命意识张本。《楚辞集注》被后人称之为“里程碑”式的著作,彻底以文学眼光来看待、诠释楚辞。其次表现为研究类型的丰富多彩,各有创获,如晁补之对楚辞及骚体作品的编集,杨万里对《天问》、《天对》的互相发明,钱杲之对《离骚》结构的分析,吴仁杰、谢翱对楚辞芳草的考订等。     

In the Shade of the Oaks of Mamre: Hospitality as a Framework for Political Engagement between Christians and Muslims

Abstract

This essay is the initial sketch of a theological framework for political dialogue based on traditions of hospitality. This essay is intended to further a normative commitment to pluralism by creating a space for Christians and Muslims to engage in political dialogue on issues of governance. Using the story of Abraham and the three strangers, the essay analyzes hospitality as a possible model for interreligious political dialogue. The essay follows the narrative of the story recounted in Genesis 18 and Surah 51 of the Qur'an focusing on Abraham's greeting of the strangers as expressing a "duty of hospitality"; the "sharing of a meal" as an act of mutual vulnerability; and the gift of Isaac as exemplary of hospitality's possibility for grace and transformation. The goal is to show that a shared theological tradition could be the basis for political dialogue.     

Metaphor and the Anthropocene: Presenting Humans as a Geological Force

Intellectually as well as materially, the Anthropocene is a deeply cultural phenomenon. This includes its communicative form, which is a contested trope‐rich narrative, even within the sciences. In this essay I focus on the role of metaphor in Anthropocene thought and in particular, on the provocative, ambiguous, and potentially far‐reaching idea of humans as a geological force. By considering the different interpretations and meaning this metaphor encourages – including differences in what is meant by geological and force, both within and beyond stratigraphy and Earth System Science – we gain a stronger sense of the deeply allegorical and theological character of the Anthropocene story and the way it promises to reposition humans in the world.     

The Actions of Abraham: A Life of Ethical Contradictions

ABSTRACT

Taking my point of departure in questions of ethnogenesis within the regions of Yehud and Idumea in the pre-Hasmonean period, I analyze the interrelationship of the themes of conflict and reconciliation in the composition of Genesis. I pay particular attention to perceptions of Idumea in narrative reiterations which tie the Cain story to the narratives about the destruction of Sodom and the Jacob-Esau conflict story in order to raise the question of whether the narrative strategy reflected in these stories might justify a further analysis of the Jacob and Joseph stories as contributions to a larger mnemonic discourse, bearing a utopian trajectory aimed at a realization of Ezekiel 16's reconciliation between Idumea, Yehud and Samaria.     

Expressions of the particular terms of love in the Song of Songs

ABSTRACT

This article discovers expressions of love by examining the particular terms of love in the Song. The expressions in various scenes show the excitement and pleasure of fulfillment in the sexual love relationship as the power of love. They also demonstrate the primary meaning of love in the Song is the celebration of joys of physical intimacy of human love relationship. The study of the chosen verses shows how the Hebrew text contains uncertainties and a variety of meanings which cannot be easily conveyed in other language. However, it portrays the significant of studying in the original language in order to bring about a better appreciation of the expressions of love in the Song.     

El pulso de Centro América a través de la novela

This article offers a new reading of Miguel de Unamuno's San Manuel Bueno, mártir. Critics have traditionally focused on the question of the protagonist's supposed lack of faith and sought to relate San Manuel's doubts in the novel to Unamuno's own religious views. Although this novel is very much concerned with religion, eschatology, and social issues, it is also an extremely sophisticated literary narration wherein the use of irony and ambiguity remains perhaps unequalled in Spanish contemporary literature. By considering the principles of linguistic pragmatics, this article shows that in her account of San Manuel's life, the female narrator tells the dramatic story of the love she and San Manuel felt for each other. By means of a complex use of ambiguity, Unamuno writes a novel that can be read in two different ways: the religious novel and the love novel.     

‘My Body was Aflame with His Memory’: War,Gender and Colonial Ghosts in Hiroshima mon amour (1959)

This article argues that historicising the iconic 1959 French film Hiroshima mon amour reveals a different set of meanings that most scholars have overlooked. As France found itself embroiled in the brutal and bloody Algerian War of Independence, many started reflecting on the meaning and aftereffects of the Second World War. Despite its anti‐colonial universalist humanism, Hiroshima remains haunted by colonial ghosts and fantasies of post‐war ‘Asia’ where Asian female bodies are passive and Asian male bodies only echo other European male bodies. Ultimately, sexual and racial differences organise the film's narrative of war and canonises a Eurocentric version of ‘history’. The film's melodramatic love story renders invisible the ways gender and sexuality shape understandings of violence, wars, and violated bodies. Against Marguerite Duras's and Alain Resnais's intentions, the love story allows the remembering and forgetting of a (French) national history that only the female character embodies. Only the French woman stands in for subjectivity, memory and trauma, rendering everything else secondary. Once read as a historical text, the film illustrates the limits and ambivalences of post‐war anti‐colonial humanist political imagination.     

Tu m'as repondu

ABSTRACT

Literal biblical interpretation advocates the view that at the outset of the paradise story Adam and Eve were only banned to eat of the tree of knowledge. The present paper challenges this view through an economic, ra-tional choice interpretation and the application of a self-interested decision calculus (model of economic man). I mount the thesis that, on grounds of a rational choice reconstruction, Adam and Eve must have been implicitly banned from the outset not to eat of the tree of life, despite no explicit ban be-ing stated in Genesis. The paper argues for the validity and insightfulness of such a rational choice analysis of the paradise story, which considerably clari-fies the conceptual logic and structure of the Eden story.     

The romance of the Inland Isle: Tocqueville's Democracy in America and the landscape of Providence

Nearly two centuries after its publication, Alexis de Tocqueville's Democracy in America (1990a) remains among the most influential accounts of American political culture. This essay argues that the rhetorical foundation of the Democracy's enduring cultural power is its “imaginative geography” (Said 2000), about which I make two, interrelated claims. The first has to do with the Democracy's identification of the American land with divine Providence. I claim that the providential landscape is the chief means by which Tocqueville contains and organizes the account of the tension between achieved liberty and natural freedom that drives the Democracy. My second focus is on the romantic character of the providential landscape. Cosgrove (2005, p. 302) reflects upon the “tenacity of the island condition on the Western imagination” as frame and vessel of “imagination, desire, hopes and fears.” I argue that the Democracy's “Inland Isle,” as I call it, is a metaphorical island in this sense, and that its theoretical capacity and exhortative power derive from Tocqueville's use of an idiom expressive of a distinctively French tradition of landscape theorizing in which garden metaphor was used to construct meanings of equality and freedom, and voice and identity, in an emerging national, bourgeois order.     

Rescuing the Future: César Vallejo and Postcolonial Thought

This article explores some of the ways in which the Heptaméron's thirteenth nouvelle plays upon epistolary expectations established by medieval letter-writing traditions, and it suggests how sixteenth-century epistolary exchange had shifted from its medieval antecedents, particularly in regard to the materiality of letters. It also considers the implications of Marguerite's epistolary play for the letter-writing landscape and for the subject at the very heart of the Heptaméron: love, and the fictions we necessarily engage in writing about it.     

《出师颂》的时代和价值

《出师颂》作为无款作品,不存在真伪之辨,主要是定时代、判定前人诸说之是与非的问题。依据后纸米友仁题跋,本幅唐、宋诸鉴藏印和书法的时代风格,将《出师颂》定为隋人书是可信的。其艺术价值,从前人推测为西晋索靖书,或南朝梁萧子云写,或称“隋贤书”,以及历代著录的赞语评价,可证必出自名家之手。作为流传千余年的隋代名家墨迹,两度出入皇宫的内府遗物,故宫博物院有责任将其征购返宫。     

《十咏图》及其对宋元吴兴文化圈的影响

由北京故宫博物院重新购藏的《十咏图》是一幅流传有绪的11世纪作品。在综合近人对《十咏图》考证的基础上,本文重点分析了这一北宋绘画基准作品的历史重要性及其对吴兴一地的文化影响。这卷叙事性的作品通过描绘“南园”之景开创了“家产山水”的范例。在南宋史学家的笔下,《十咏图》呈现了特别的文化史价值:它被用作修纂《吴兴人物志》的第一手材料,而且它的创作成为中国史学上较早的以图像证史的自觉实践。在宋亡之际,收藏界开始将张先视为《十咏图》的创作者,即文人画的早期代表。配合文人艺术在吴兴这个元初绘画中心所形成的新格局,《十咏图》直接激励了赵孟顿等大画家确立起的反映主观自我意识的山水境界。这些新的山水创作不仅突出了地域景观特色,而且表现出文人画家们在蒙古人的统治下,努力显示自己的家庭财富及文化优势的鲜明个性。在此过程中,整个元代绘画的风格发生了革命性的转变。     

Lamentations 3,1-6: An anti-psalm 23

This essay addresses two different Biblical bulks of text. On the one hand, the essay approaches Psalm 23. On the other hand, however, does the essay equally approach Genesis 4 that documents the chronicles of Cain, Abel, Lemech and the descendents of Adam and Eve after the slay of Abel by Cain. The rationale for addressing simultaneously these two bodies of Biblical text that seem to be divorced from each other, is the following. In the case of both texts, the first encounter with them appears to surrender the impression that two textual components had been glued to each other while lacking any common denominator whatsoever. Nevertheless, in both cases an analytical scrutiny does unveil a cluster of links between the two texts that are seemingly devoid of any reciprocal bond. In the case of Psalm 23, the common denominator between the Psalm's two seemingly detached parts does consist on a tight, detailed analogy between the metaphors utilized to portray the Lord and His pious believer. In the case of Genesis 4, however, the unearthed link between the text's ensemble of components is found to be among the characters that perform along two leading parameters, death and life. Hence in both cases what was initially considered a text that is devoid of a plausible connection between its parts, is found out as a text that its parts are united in the most cogent and equally tight fashion.     

The reader as writer,the author as con artist: Nuala O'Faolain and the criminal narratives of Chicago May

Nuala O'Faolain seeks to revise the life story of May Churchill Sharp, an international con woman born in Ireland, in hopes of establishing a feminist identification with her. But O'Faolain's claim for her writing of a kind of authorial authenticity ultimately precludes an identification with Sharp, as Sharp's narrative – like all narratives – is a criminal narrative which renders feminist ‘authenticity’ impossible to achieve, something O'Faolain herself refuses to acknowledge.