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Comparative Literature

Publisher:
Duke Univ Press
Duke University Press
ISSN:
0010-4124
Scimago Journal Rank:
14
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The Finitude of Method: Mourning Theory from the New Criticism to the New Vitalism

Librett, Jeffrey S.

2012 Comparative Literature

doi: 10.1215/00104124-1590110

This essay provides a new interpretation of the major methodological movements in literary scholarship since World War II, especially in the United States. The overarching claim is that these movements comprise displaced repetitions of moments in the early modern mourning for lost absolutes (the “death of God”), a mourning that, as the recent “return of religion” reveals, is far from complete. In the history of the secularization of reason in the West, the rationalist and empiricist traditions constitute the two main (and opposing) forms in which reason attempts to mourn for God, and to replace him. The essay argues that rationalism involves a melancholic gesture, whose structural representative in Freudian terms is obsessive-compulsive discourse. Empiricism, in turn, arises as a manic phase of attempted (and failed) mourning, stabilized in what will come to be known as hysteria. Contemporary theory has taken shape in and around these two modes of response to the disappearance of the absolute addressee. The four movements considered are New Criticism, structuralism (and post-structuralism), New Historicism (and Cultural Studies), and what I call the “New Vitalism” (represented here by Giorgio Agamben and Slavoj Žižek). The essay initially understands New Criticism as focused on formal traits, (post)structuralism as concerned mainly with epistemology, New Historicism/Cultural Studies as privileging history, and the New Vitalism as seeking the realization of the subject. Going beyond this initial, standard determination, the essay characterizes each movement in terms of the concepts provided by all of them, on the assumption that the “totality” of these movements cannot be exceeded at this time, but that it can be displaced by being relativized through such a description. As a result, New Criticism appears as ironic in its privileged representational mode, criticist (in the Kantian sense) in its epistemology and aesthetics, aestheticist in literary-historical or history of ideas terms, and phobic in psychoanalytic terms. The (post)structuralist moment appears formally as allegorical, philosophically as rationalist, historically as akin to Enlightenment, and psychoanalytically as obsessional. New Historicism and Cultural Studies embrace (despite appearances) a symbolist mode of presentation and an empiricist epistemology, recapitulate the literary-historical tendencies of realism, and take, in psychoanalytic terms, a hysterical stance. The New Vitalism, finally, has faith in polemic as its privileged mode of presentation, takes a neo-idealist position philosophically, echoes neo-Romantic vitalisms of the late nineteenth century, and positions itself as perverse in psychoanalytic terms. Where critical theory goes from here remains an open question. Completion of mourning for the socially sanctioned delusion we still evidently have difficulty doing without remains a methodological desideratum. CiteULike Connotea Delicious Digg Facebook Google+ Reddit Technorati Twitter What's this? « Previous | Next Article » Table of Contents This Article doi: 10.1215/00104124-1590110 Comparative Literature 2012 Volume 64, Number 2: 121-149 » Abstract Full Text (PDF) References Classifications Article Services Email this article to a colleague Alert me when this article is cited Alert me if a correction is posted Similar articles in this journal Similar articles in Web of Science Download to citation manager Citing Articles Load citing article information Citing articles via Web of Science Google Scholar Articles by Librett, J. S. Related Content Load related web page information Social Bookmarking CiteULike Connotea Delicious Digg Facebook Google+ Reddit Technorati Twitter What's this? Current Issue Winter 2012, 64 (1) Alert me to new issues of Comparative Literature Duke University Press Journals ONLINE About the Journal Editorial Board Submission Guidelines Permissions Advertising Indexing / Abstracting Privacy Policy Subscriptions Library Resource Center Activation / Acct. Mgr. E-mail Alerts Help Feedback © 2012 by University of Oregon Print ISSN: 0010-4124 Online ISSN: 1945-8517 var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); try { var pageTracker = _gat._getTracker("UA-5666725-1"); pageTracker._trackPageview(); } catch(err) {}
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Wordsworth, Baudelaire, and the Limits of Poetic Insight

Bailey, Quentin

2012 Comparative Literature

doi: 10.1215/00104124-1590119

This essay traces Wordsworth's and Baudelaire's attempts to see into the lives of the unknown beggars they encountered on the streets of London and Paris and identifies those occasions on which both writers sought to appropriate the lives of the poor and vagrant for political ends. The essay argues that it is ultimately in those fleeting moments when the ability of the poet to enter into the lives of others is thwarted that the limits of a Romantic poetics can be established. In particular, the essay focuses on those occasions, in the work of both writers, when the process of identification with beggars — so sincerely wished for on account of its socio-political or aesthetic consequences — is interrupted, and the poet is exposed to an almost disabling moment of uncertainty. For Wordsworth, the essay contends, such moments occurred primarily when he moved out of the rural byways of England and into the crowded streets of London; for Baudelaire, they occurred when the “ineffable orgy” of the crowd failed to generate insights into the face of the stranger. For both writers, this failure of the poetic imagination on the streets of the metropolis, evident, for instance, in Wordsworth's encounter with the blind beggar in The Prelude and Baudelaire's with the old man in Les Sept Vieillards , marked the limit of a poetic activity based on identity, recognition, and empathy. The essay suggests that, while these moments were occasional and transitory, they delineate an imaginative terrain whose contours are visible in writers as diverse as Thomas De Quincey and T.S. Eliot. CiteULike Connotea Delicious Digg Facebook Google+ Reddit Technorati Twitter What's this? « Previous | Next Article » Table of Contents This Article doi: 10.1215/00104124-1590119 Comparative Literature 2012 Volume 64, Number 2: 150-168 » Abstract Full Text (PDF) References Classifications Article Services Email this article to a colleague Alert me when this article is cited Alert me if a correction is posted Similar articles in this journal Similar articles in Web of Science Download to citation manager Citing Articles Load citing article information Citing articles via Web of Science Google Scholar Articles by Bailey, Q. Related Content Load related web page information Social Bookmarking CiteULike Connotea Delicious Digg Facebook Google+ Reddit Technorati Twitter What's this? Current Issue Winter 2012, 64 (1) Alert me to new issues of Comparative Literature Duke University Press Journals ONLINE About the Journal Editorial Board Submission Guidelines Permissions Advertising Indexing / Abstracting Privacy Policy Subscriptions Library Resource Center Activation / Acct. Mgr. E-mail Alerts Help Feedback © 2012 by University of Oregon Print ISSN: 0010-4124 Online ISSN: 1945-8517 var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); try { var pageTracker = _gat._getTracker("UA-5666725-1"); pageTracker._trackPageview(); } catch(err) {}
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Strategies of Visual Intervention: Langston Hughes and Uncle Tom's Cabin

Peabody, Rebecca

2012 Comparative Literature

doi: 10.1215/00104124-1590128

In 1952 publisher Dodd, Mead and Company invited African American writer and intellectual Langston Hughes to create an introduction, select illustrations, and prepare discursive captions for a new edition of Harriet Beecher Stowe's Uncle Tom's Cabin . The mid-twentieth century was a complex moment in the cultural reception of the novel, characterized both by public demand for new incarnations of the story and by protests against the book and the performances it inspired. Hughes, who had a long-standing relationship with the story, accepted the invitation and produced an unusual project that reflects the story's ambivalent cultural status, celebrating the novel even while unraveling its narrative threads. While Hughes's introduction to the 1952 edition is often cited by scholars, there has been little sustained consideration of the multiple layers of critical interpretation evident throughout the rest of the book. In fact, while Hughes takes Stowe's novel as a point of departure, the work done by his choice of images, their captions, and their placement in the text is the real story. This essay elucidates some of the deeply complex strategies Hughes employed in order to elicit multiple, sometimes contradictory, stories from Stowe's text and analyzes the effects they create for readers. The essay argues that Hughes used critical and creative tools in ways unique to this project to strategically disrupt readers' suspension of disbelief and thereby provoke a more critical, more culturally and historically inflected understanding of the story. CiteULike Connotea Delicious Digg Facebook Google+ Reddit Technorati Twitter What's this? « Previous | Next Article » Table of Contents This Article doi: 10.1215/00104124-1590128 Comparative Literature 2012 Volume 64, Number 2: 169-191 » Abstract Full Text (PDF) References Classifications Article Services Email this article to a colleague Alert me when this article is cited Alert me if a correction is posted Similar articles in this journal Similar articles in Web of Science Download to citation manager Citing Articles Load citing article information Citing articles via Web of Science Google Scholar Articles by Peabody, R. Related Content Load related web page information Social Bookmarking CiteULike Connotea Delicious Digg Facebook Google+ Reddit Technorati Twitter What's this? Current Issue Winter 2012, 64 (1) Alert me to new issues of Comparative Literature Duke University Press Journals ONLINE About the Journal Editorial Board Submission Guidelines Permissions Advertising Indexing / Abstracting Privacy Policy Subscriptions Library Resource Center Activation / Acct. Mgr. E-mail Alerts Help Feedback © 2012 by University of Oregon Print ISSN: 0010-4124 Online ISSN: 1945-8517 var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); try { var pageTracker = _gat._getTracker("UA-5666725-1"); pageTracker._trackPageview(); } catch(err) {}
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Non serviam: James Joyce and Mexico

Price, Brian L.

2012 Comparative Literature

doi: 10.1215/00104124-1590137

This essay examines how Fernando del Paso and Salvador Elizondo, two Mexican authors at opposite ends of what might be termed the Joycean spectrum, assimilate Joyce into their respective cultural projects. The essay argues that the incorporation of Joycean aesthetics into Mexican letters is the result of a persistent quest for universality, a quest that demands defiance towards notions of literary nationalism associated with the periphery and cosmopolitan assignations of cultural inferiority. The essay endeavors to answer two seminal questions: How do Del Paso and Elizondo constitute themselves as participatory members in the larger field of Western and world culture? And how does the apparent divestment of national cultural identity actually reaffirm the importance of that identity? Specifically, I am intrigued by the different ways in which they interact with Joyce both as literary icon and body of texts in order to assert their cultural credentials on the world stage. To that end, the essay is divided into three sections. The first examines how Joyce arrived in Mexico and the critical context that brought his work into the center of discussions about literature in the 1960s, as well as the ways in which updated theoretical approaches can help move beyond comparative narratologies. The second section examines Del Paso's engagement with the Western canon in his public addresses and his parodic subversions of Joycean texts. The third section studies Elizondo's appropriation of Joyce's early aesthetics and his translation of the first page of Finnegans Wake . CiteULike Connotea Delicious Digg Facebook Google+ Reddit Technorati Twitter What's this? « Previous | Next Article » Table of Contents This Article doi: 10.1215/00104124-1590137 Comparative Literature 2012 Volume 64, Number 2: 192-206 » Abstract Full Text (PDF) References Classifications Article Services Email this article to a colleague Alert me when this article is cited Alert me if a correction is posted Similar articles in this journal Similar articles in Web of Science Download to citation manager Citing Articles Load citing article information Citing articles via Web of Science Google Scholar Articles by Price, B. L. Related Content Load related web page information Social Bookmarking CiteULike Connotea Delicious Digg Facebook Google+ Reddit Technorati Twitter What's this? Current Issue Winter 2012, 64 (1) Alert me to new issues of Comparative Literature Duke University Press Journals ONLINE About the Journal Editorial Board Submission Guidelines Permissions Advertising Indexing / Abstracting Privacy Policy Subscriptions Library Resource Center Activation / Acct. Mgr. E-mail Alerts Help Feedback © 2012 by University of Oregon Print ISSN: 0010-4124 Online ISSN: 1945-8517 var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); try { var pageTracker = _gat._getTracker("UA-5666725-1"); pageTracker._trackPageview(); } catch(err) {}
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For Want of a Door: Poetry's Resistant Interiors

Feuerstein, Melissa

2012 Comparative Literature

doi: 10.1215/00104124-1590146

This essay explores the ethical stakes of poetic difficulty, focusing on images of impeded access and remote interiority in poems that dramatize encounters with matters that resist comprehension. Following Barbara Johnson's suggestion that having both an inside and an outside makes the “thing, the human, the poem, and indeed language itself” into metaphors for each other ( Feminist Difference 130), this essay takes the link between poetic difficulty and images of occlusion as a way to broach the difficulties of entering into alien experience by way of lyric poems. More broadly, it finds in imagined encounters with resistant interiors answers to the question of what it means to want to know, to understand, or to relate to an other and argues that, in the face of irrevocable remoteness, poetry's potential for repair resides in the restoration rather than resolution of its resistance. The essay begins with a brief overview of recent theories of poetic difficulty, finding in the personifications and anthropomorphic metaphors of interiority that appear in those theories evidence of the ways in which we project agency, will, and moral choice onto poems that resist our attempts to grasp them. It then explores the workings of such resistance — particularly its renegotiation of the divide between interior and exterior, self and other, which anthropomorphic projections seek to overcome — in poems by William Butler Yeats, Jorie Graham, Wisława Szymborska, Francis Ponge, and Anne Carson. The essay argues that, like D.W. Winnicott's transitional object, resistant poems open a space between interior and exterior worlds, a space of “experiencing” that helps one learn to tolerate frustration, separation, loss, and reality. CiteULike Connotea Delicious Digg Facebook Google+ Reddit Technorati Twitter What's this? « Previous | Next Article » Table of Contents This Article doi: 10.1215/00104124-1590146 Comparative Literature 2012 Volume 64, Number 2: 207-229 » Abstract Full Text (PDF) References Classifications Article Services Email this article to a colleague Alert me when this article is cited Alert me if a correction is posted Similar articles in this journal Similar articles in Web of Science Download to citation manager Citing Articles Load citing article information Citing articles via Web of Science Google Scholar Articles by Feuerstein, M. Related Content Load related web page information Social Bookmarking CiteULike Connotea Delicious Digg Facebook Google+ Reddit Technorati Twitter What's this? Current Issue Winter 2012, 64 (1) Alert me to new issues of Comparative Literature Duke University Press Journals ONLINE About the Journal Editorial Board Submission Guidelines Permissions Advertising Indexing / Abstracting Privacy Policy Subscriptions Library Resource Center Activation / Acct. Mgr. E-mail Alerts Help Feedback © 2012 by University of Oregon Print ISSN: 0010-4124 Online ISSN: 1945-8517 var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); try { var pageTracker = _gat._getTracker("UA-5666725-1"); pageTracker._trackPageview(); } catch(err) {}
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