bluuebunny/crossref_metadata_2025 huggingface dataset:
Two Endings: Virginia Woolfs Suicide and Between the Acts
Authors: Kenney Susan
Published: March 2013

Virginia Woolf's last novel, Between the Acts, although it contains an undercurrent of fear and pessimism, is on the whole a book that affirms the indomitability of man in the face of intractable circumstances. Not only do the characters finally challenge fate to do its worst, but as both artists and human beings they continue to create new art and new life in the face of destruction. Virginia Woolf finished her revisions of Between the Acts, a book she claimed to have enjoyed writing, on 26 February 1941. For the next few weeks she rested, read, followed the progress of the war, entertained friends, wrote letters, and embroidered. She began to plan two new books she wanted to write after Between the Acts went to the printer's. On 28 March 1941, after spending the morning making notes for a new collection of essays, she took her walking stick, her hat and coat, and instead of going in to lunch, walked a few hundred yards to the Sussex Ouse and drowned herself. She left behind her three notes of explanation, two to Leonard Woolf, and one to her sister Vanessa. Two of the notes I quote in full, because they give what Virginia Woolf thought to be the reasons for her suicide. The first is the note Leonard Woolf found propped on the mantelpiece in their sitting room at lunch time.
Crisis and Recovery: Wordsworth, George Eliot, and Silas Marner
Authors: Simpson Peter
Published: March 2013

The close affinity between Wordsworth and George Eliot has long been recognized but has never been adequately spelled out. Eliot's early novels with their rural settings and humble characters are obviously broadly analogous to Wordsworth's early narrative poems and to the aesthetic principles promulgated in the Preface to Lyrical Ballads. There is a less obvious but equally substantial affinity between Wordsworth's life history as depicted in The Prelude and Eliot's emergence as a novelist, as Basil Willey has pointed out:
Autobiography as History
Authors: Forguson Lynd
Published: March 2013

Despite its perennial popularity, and notwithstanding the fact that some of the most notable literary achievements have been autobiographies, there has been scarcely any critical or theoretical literature about the genre. The few studies there are have mainly been concerned with autobiography as a literary form. Philosophers and historians have almost entirely ignored the subject, although of course more than a few of them have written autobiographies.
Bunyan, Luther, and the Struggle with Belatedness in Grace Abounding
Authors: Haskin Dayton
Published: March 2013

At many points in his autobiography John Bunyan attests to a longstanding worry that, by the time he got religion, 'the day of grace' was 'past and gone.' He feared greatly, he says, that 'I came too late, for [others] had got the blessing before I came.' It was as if there were not enough grace for him; and he therefore felt a close kinship with Esau, who, although he was to inherit his father's blessing, got there too late and lost it to his brother Jacob.
Northrop Frye and the Bible: A Review Symposium
Authors: Keith
Published: March 2013

The publication of The Great Code, the first volume of Northrop Frye's longawaited study of the Bible, seemed to demand a special response on the part of the University of Toronto Quarterly. Professor Frye has of course been a distinguished member of the University of Toronto for many years; he has also been a good friend to this journal. For ten years, between 1950 and 1959, he wrote the 'Poetry' section of 'Letters in Canada,' these columns subsequently being reprinted in The Bush Garden (1971), and he has made other contributions to the Quarterly, the most recent being an article specially written for our fiftieth anniversary issue, The Arts in Canada (Fall 1980). Moreover, until a few months ago (when it was derided to revise the administrative arrangements of the journal), he served diligently and conscientiously on the Honorary Advisory Board.
Discovering the Bible
Authors: Steigman Emero
Published: March 2013

In The Great Code a major thinker of the century, who has deeply affected our understanding of literature and of language itself, proposes to show that, in some measure, traditional Christian reading of the Bible is unknowing, that the scholarship cultivated to remedy this is wrongheaded, and that our literary tradition and some major elemental currents of our thinking are conditioned by the Bible. So conditioned are they that to be unaware of this is to be denied a portion of that self-consciousness by which we are human. In each of these efforts I think Northrop Frye succeeds. He demonstrates that editorial continuity through the generations produced such a unity of narrative and metaphor in biblical literature that these texts should be read as one book. Beyond that, because of its dominantly metaphorical mode and its typological structure the book should be read centripetally; centrifugal referents to history and theology are secondary. The study of western literature and language either begins in the Bible or is consummated there. It was Frye's attention to the Bible that led him into 'the larger verbal context of which literature forms a part.' The polysemous meaning he finds in the Bible is 'a feature of all deeply serious writing.' Only in the sense that its meaning expands and deepens to an unparalleled extent will the Bible be considered by the critic as more than literature. It is a work of imagination, but its perspective is one that 'only God is assumed to be able to attain.' Its concern for human life 'goes far beyond the purely imaginative.' Yet, since it is not granted the status of a literary exception, its appropriateness as a focus and source of literary theory is vindicated.
The Perfect Image of Life: Counterfeit Death in the Plays of Shakespeare and His Contemporaries
Authors: Fothergill Robert
Published: March 2013

The culmination of any counterfeiting of death is a well-managed resurrection. When the supposition of your death has worked its effects, on the bereaved and the relieved both, and when the satisfactions of a posthumous existence have been exhausted, it is time to rise from the dead and savour the joy, the contrition, and the dismay of those who have been accommodating themselves to your demise. However, like disguise, of which it is a rather extreme form, the counterfeit death can be a wickedness, whereby the deceased can be served with an unlooked-for and more or less ghastly comeuppance. When the ploy has been mischievous or malicious, poetic justice calls for just such an ironic outcome—though the call may not always be heeded.
Four Forms of Philosophical Scepticism
Authors: Goldstick
Published: March 2013

People often invoke the word 'scepticism' to cover any challenge to a particular branch of knowledge, or purported knowledge. In this sense we speak of scepticism regarding parapsychology, scepticism regarding evolution, and even religious scepticism or unbelief. But here I want to reserve the expression 'philosophical scepticism' for propositions and arguments which more or less comprehensively militate against all human efforts to find out what is the case, or any claims to have succeeded.
Reviews
Authors: Anderson Theodore , Frank Roberta , Fleming John , Rajan Tilottama , Whiteside Anna , Cook Eleanor
Published: March 2013

Colin Chase, ed., The Dating of Beowulf, reviewed by Theodore M. Anderson

Stanley B. Greenfield and Fred C. Robinson, A Bibliography of Publications on Old English Literature from the Beginnings to the End of 1972, reviewed by Roberta Frank

Jacques Rustin, Le Vice à la mode: étude sur le roman français du XVIIIe siècle de 'Manon Lescaut' à l'apparition de 'La Nouvelle Héloïse', reviewed by John A. Fleming

Thomas McFarland, ed., Romanticism and the Forms of Ruin: Wordsworth, Coleridge, and Modalities of Fragmentation, reviewed by Tilottama Rajan

Ruth Amossy, Les Jeux de l'allusion littéraire dans 'Un beau ténébreux' de Julien Gracq, reviewed by Anna Whiteside

John Hollander, The Figure of Echo: A Mode of Allusion in Milton and After, reviewed by Eleanor Cook
Traherne's Commentaries of Heaven (With Selections from the Manuscript)
Authors: Pritchard Allan
Published: March 2013

The story of the finding of the Traherne manuscripts is one of the most romantic in English literary history. The modern discovery of this uniquely ecstatic and radiant seventeenth-century poet, who had remained almost unknown because he lived inconspicuously and published little of his writing, began in the winter of 1896-7 when William Brooke picked up for a few pence two manuscripts of works in prose and verse from a barrow in an open-air London street market. The way in which these manuscripts were eventually identified as the work of Thomas Traherne and published by Bertram Dobell is too well known to need repeating. The initial discovery was followed by several others: in 1910 H.I. Bell published verse from a manuscript in the hand of Traherne's brother Philip he had found in the British Museum, and in 1964 James Osborn of Yale University acquired a manuscript of prose Select Meditations by Traherne that had unexpectedly turned up in England.
The Biblical Comic and the Demands of Reality
Authors: Patrides
Published: March 2013

'I said of laughter, it is mad,' remarks the despondent narrator of the Book of Ecclesiastes (2.2). He adds later, in the threnodic rhythms characteristic of his entire discourse: "Sorrow is better than laughter: for by the sadness of the countenance the heart is made better. The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.lt is better to hear the rebuke of the wise, than for a man to hear the song of fools. For as the crackling of thorns under a pot, so is the laughter of the fool: this also is vanity." (7.3–6) This dismal viewpoint is normally regarded, I expect, as representative of the Judaeo-Christian tradition at large. After all, occasions for laughter were severely restricted as much for the founder of Judaism as for the founder of Christianity; and their arduous lives ended equally devoid of gaiety, in the one case outside the boundaries of the Promised Land, and in the other most humiliatingly on a Cross.
Wordsworth's Michael and the Pastoral Tradition
Authors: Lessa Richard
Published: March 2013

When William Wordsworth called Michael a pastoral poem, he pointed to a literary tradition that seems at first glance far removed from this tale of a Lake-country shepherd. What has his poem in common with Marlowe's 'Passionate Shepherd,' for example, or with the sort of pastoral written by Pope or Ambrose Philips a century earlier? Its opening lines evoke anything but a sense of delicate pastoral charm and tranquillity. Instead there is a 'tumultuous brook' and the prospect of a struggle on an 'upright path' that would challenge an experienced climber. And surely 'Courage!' had never before been demanded of one who would enter the pastoral world.
Anatomy and Progress: The Drama of Conversion in Donne's Men of a 'Middle Nature'
Authors: Shami Jeanne
Published: March 2013

Anyone who studies Donne's entire career can readily observe his concern with ordinary human doubts about the justice of God's ways. For the men of a 'middle nature' who constitute his audience, Donne realizes, the greatest problem is not a lack of faith but an inability to apply that faith to an increasingly uncertain, even incomprehensible seventeenth-century world. The question that most engaged him was how to rouse the hearts of such men from their lethargy and despair, how to transform their general sense of God's providence into a motive for personal response to him. And he becomes increasingly aware that the re-energizing effect he seeks is best achieved through the force of examples, both fictional and historical, of people resolving their doubts without losing sight of God's providential purposes in exercising them as he does.
Gianlorenzo Bernini's The Impresario: The Artist as the Supreme Trickster
Authors: Beecher
Published: March 2013

Perhaps the least known aspect of Gianlorenzo Bernini's artistic endeavours is his work as a scenographer and playwright. His contributions to the Barberini court spectacles have been the subject of several recent studies, many of them dealing with the tricky problem of distinguishing the work of Bernini from that of his contemporaries. That he was one of the most admired impresarios of his day is a received idea, but the ephemerality of the medium has deprived modern critics of actual works for study. John Evelyn, following his trip to Rome in 1644, celebrated Bernini's versatility in his Diary, stating that he gave a 'Publique Opera ... where in he painted the scenes, cut the Statues, invented the Engines, composed the Musique, writ the Comedy and built the Theatre all himselfe.' We know of some of his devices such as flooding the stage in the Inundation of the Tiber (1638), a trick in hydraulics he learned from Aleotti, and the pyrotechnics of The Fair (before 1645) in which a coachman 'accidentally' set fire to the stage, causing the audience to flee for their lives. Before they could get away, however, the fire was out, and the scene changed to a 'noble and beautiful' garden.
Reviews
Authors: Davidson Arnold , Keith
Published: March 2013

David Stouck, Major Canadian Authors: A Critical Introduction, reviewed by Arnold E. Davidson

Canadian Literature no. 100 (Spring 1984), reviewed by W. J. Keith
The Meaning of Lawrence's Advice to the Literary Critic
Authors: Watson Garry
Published: March 2013

Rather than simply register delight at the discovery that he has finally made it into the prestigious company of Freud, Nietzsche, and Lévi-Strauss, Lawrence's admirers would do better, I think, to use David Lodge's remark as the occasion to raise the question as to whether or not his famous 'dictum' is, in fact, sound. But before doing this we must first ask what he meant by it. 'Never,' Lawrence actually wrote, 'trust the artist. Trust the tale.' This mayor may not be describable as 'a cardinal principle of modern hermeneutics.' But whatever it, or something like it, might have meant to Nietzsche, to Freud or to Lévi-Strauss, what did Lawrence mean by it?
Reviews
Authors: MacLaren  , Weinberg Henry , Blissett William , Moyal Gabriel
Published: March 2013

Percy G. Adams, Travel Literature and the Evolution of the Novel, reviewed by I. S. MacLaren

Emile Zola, Correspondence, IV, 1880–1883, reviewed by Henry H. Weinberg

Neil Corcoran, The Song of Deeds: A Study of The Anathemata of David Jones, reviewed by William Blissett

Thomas Dilworth, ed., Inner Necessities: The Letters of David Jones to Desmond Chute, reviewed by Wiliam Blissett

Philip Pacey, David Jones and Other Wonder Voyagers, reviewed by William Blissett

Elizabeth Ward, David Jones, Mythmaker, reviewed by William Blissett

Jacques Derrida, Signéponge/Signsponge, reviewed by Gabriel Moyal
Ran and the Tragedy of History
Authors: Parker Brian
Published: March 2013

Fourteen years ago, at the first World Shakespeare Congress in Vancouver, I invited the Russian director Grigori Kozintsev to speak for a panel I was organizing on 'Shakespeare in Modern Production.' He gave a fine talk on the creative thinking behind his films of Hamlet and King Lear, and, as a bonus, brought with him the first copy of his Lear film to be seen outside Russia, the screening of which brought the members of the Congress to their feet applauding. I mention this not out of vainglory but because at the same time I tried to invite Akira Kurosawa but could not manage to contact him. When I mentioned this to Kozintsev, his reply was: 'What a pity! He was staying with me and would have loved to come.' Kozintsev was also a personal friend of Peter Brook, the English stage and screen director; and it is these three men who have made the most interesting modern film versions of King Lear. A brief comparison of their approaches can illuminate Kurosawa's unique achievement in Ran.
Theatre
Authors: Godin Jean
Published: March 2013

Reviews of French-Canadian books on theatre published in 1985.
Shakespeare's Use of Comic Conventions in Titus Andronicus
Authors: Parker Douglas
Published: March 2013

Over the years, critics have not been especially kind to Shakespeare's Titus Andronicus, often for very good reasons. Less memorable for its tragic sophistication than for its scenes of grotesque horror and maiming, it has provoked disbelief, shock, and anger. Some have even gone so far as to deny its validity in the Shakespearean canon on the ground that the author of such tragedies as Hamlet, Othello, and King Lear could not possibly have stooped to write such a horrific melodrama as Titus. Robert Miola states that 'it would be easy to compile a colorful anthology of disparaging pronunciamentos' about the play. The various and widespread criticisms of the play are hard to counter; a careful reading of Titus shows that it contains many elements that jar our sensibilities: unsophisticated character development, gratuitous death of the most pernicious kind, and a moral vision which seems at odds with the western world's Judaeo-Christian roots. Indeed, so appalled have some critics been by the play's horrific happenings that they have attempted to explain the course of events by focusing on the play as comedy. But most of these comments on the play's comic elements have done as much to disparage Titus as to praise it. J.C. Maxwell reminds us that Dover Wilson saw the 'gruesome passages in Titus as burlesque in intention.' He also tells us that T.S. Eliot regarded the play as a farce and that P.H. Kocher saw it as 'more a malicious comedy than anything else.' More recently, Richard Brucher has focused on the play's 'comic violence.' All of these criticisms see Titus as somehow less of a tragedy because of its use of a particular type of comic component perhaps best summed up in the phrases 'black comedy' or 'black humour.' But black comic happenings and tragedy have never been happy bedfellows, and for critics to find Titus's actions grotesquely humorous because they cannot find them tragic does not do justice to the truly tragic elements within the play. It is my view that particular elements of comedy—not the effects that we call 'funny' or 'humorous,' but rather certain formal comic conventions that Shakespeare used time and again, particularly in his romantic comedies—enhance the tragedy of Titus Andronicus rather than work against it.
Metaphor and Metonymy: Jakobson Reconsidered
Authors: Surette Leon
Published: March 2013

Roman Jakobson's 1954 article 'Two Aspects of Language and Two Aspects of Aphasic Disturbance' has fundamentally altered the way literary critics use the terms 'metaphor' and 'metonymy.' Before that article metonymy was a little-regarded rhetorical trope distinguishable from synecdoche only with difficulty. Some indication of its prestige can be gathered from the fact that 'metonymy' is not indexed in either I.A. Richards's Practical Criticism or Wellek and Warren's Theory of Literature, although both works index metaphor. Since Jakobson, metonymy has been elevated to a status equal to metaphor, and is perceived as its contrary. In the process both 'metaphor' and 'metonymy' have ceased to designate only rhetorical tropes and have become the labels for cognitive relationships. 'Metaphor' is the label for relationships of 'similarity,' and 'metonymy' for those of 'contiguity.' The following discussion is a critical analysis of Jakobson's article with a view to locating some of the confusions arising out of the displacement of tropological concepts by cognitive ones while retaining the same labels for both sets.
Painting, Music, and Baseball: Creativity and the Passing of the Age of Giants
Authors: Maundrell Richard , Flagel David
Published: March 2013

Stephen Jay Gould, the noted Harvard biologist, has made the observation that within the last generation or so we have begun to witness the realization of essentially biological or 'evolutionary' limits to human performance in certain areas. The argument for limits to performance is grounded in the recognition that people in advanced industrialized societies have already realized the potential set by evolutionary history in respect to such dimensions as average life span and average height. Further, Gould argues, we may be approaching evolutionary limits to certain dimensions of human performance; hence, male athletes, for example, like thoroughbred horses before them, appear to be approaching the natural limit represented by the time it takes to run a mile (Kentucky Derby winners averaged 2:06.4 during the 1910'S and 2:02.0 for the past ten years).
Proxy and Proximity: Metonymic Singing
Authors: Matus Jill
Published: March 2013

In Book II of The Mill on the Floss the narrator pauses to lament the association of intelligence with the ability to wield metaphor. "Aristotle! if you had the advantage of being the 'freshest modern' instead of being the greatest ancient, would you not have mingled your praise of metaphorical speech, as a sign of high intelligence, with a lamentation that intelligence so rarely shows itself in speech without metaphor, —that we can so seldom declare what a thing is, except by saying it is something else?" In the context of the narrative, this critique of metaphoric privilege is a plea for valuing different ways of seeing things and saying things. George Eliot does not name this different perspective; I suggest it is a concern with the metonymic. In contemporary, post-structuralist criticism the scrutiny of metaphoric privilege has often meant a reconsideration or defence of the 'other trope,' metonymy. My interest in metonymy here is to consider what relationships exist between the various ways in which it has been construed—common figure of speech, signifier of desire in the rhetoric of the unconscious, a concern with provisionality, positionality, and gender in culture and language. I am interested also in the difference a sensitivity to metonymy makes to the way we approach texts. After exploring the implications of post-structural theories about metonymy in language, culture, psychoanalytic discourse, and narrative, I want briefly to suggest how a metonymic perspective clarifies some problematic issues in The Mill on the Floss, a novel in which George Eliot struggles to reconcile contextual relativism and the essentializing claims of metaphor.
The Immoderation of Samuel Johnson
Authors: Jackson
Published: March 2013

I take for my text a phrase of Boswell's. It comes up in his report of Johnson's reaction to the news that Thomas Percy was writing a history of the wolf in Great Britain. Johnson thought he should work on the rat instead: '"I should like to see The History of the Grey Rat, by Thomas Percy, D.D., Chaplain in Ordinary to His Majesty," (laughing immoderately)'(Life, 2:455). Now I am concerned neither with wolf and rat, nor with the political implications of the joke, but with Johnson's laughter, or rather with the fact that Boswell judges Johnson—not for the first time—by choosing the word 'immoderate' to describe it. He has also said that Johnson was 'immoderately fond' of romances as a boy, implying that they damaged his mind (Life, 1:49); and he has described Johnson's disgusting table manners, observing with apparent reluctance that Johnson 'was not a temperate man either in eating or drinking. He could refrain, but he could not use moderately' (Life, 1:468). Eventually, that observation will become the basis for a general judgment: 'Every thing about his character and manners was forcible and violent; there never was any moderation' (Life, 4:72). Such statements as these are to me interesting in two ways. They may indeed provide a sort of key to Johnson's personality, and they exhibit an awesome shibboleth, the value of moderation, at work.
'No Guides Need Apply': Locating the Nonfiction Novel
Authors: Russell John
Published: March 2013

Over a twelve-year span starting in 1976, a half-dozen books appeared on the nonfiction novel, their succinct titles often resembling one another such as John Hollowell's Fact and Fiction (1977) and John Hellmann's Fables of Fact (1981). The thrust of all six was to connect the form with the New Journalism that began to flourish in America in the 1960s. Not many demurrals have been raised against this supposed new form, though in 1980 John Hersey—angered at uncritical use of the term 'nonfiction novel'—attacked what he saw as repeated 'fabrication' in the offerings of Capote, Mailer, and Tom Wolfe. Hersey argued that all three worked over their material with the most disfiguring truncheons, citing the 'all-or-nothing' allegations of Wolfe ('Every wife,' 'Every young fighter pilot'), and the sententiae Mailer was forever forcing on his characters, as causing their headlong default from journalistic standards of accuracy. One premise Hersey refused to let go of: 'The journalist must not invent.'
The Best Book of Romance: Sir Gawain and the Green Knight
Authors: Kinney Clare
Published: March 2013

Sir Gawain and the Green Knight is perhaps the most intricately textured, aesthetically pleasing, and inexhaustibly rereadable of all medieval romances. It offers the reader, to borrow the poet's own words, 'play ... passande vche prynce gomen': not only is its narrative action packed with games and entertainments, but the poem as a whole, as John Leyerle suggests, can be seen as an elaborate and remarkably serious 'form of play.' While acknowledging that the 'gomen' of Sir Gawain is a wonderful and many-faceted thing, I shall be examining a single aspect of it in this essay, namely, the way in which the poem plays with the rules of the game of reading and writing romance.
Canadian Prospects: Abram's Plains in Context
Authors: Glickman Susan
Published: March 2013

In 1789 Abram's Plains, A Poem was 'Printed for the Author,' Thomas Cary, at Quebec, with a preface which commented genially on that author's literary taste and ambitions. After judging 'descriptive poetry, that exhibits a picture of the real scenes of nature, to be the most difficult to excel in' and blank verse in general to be superior to rhyme, because requiring 'greater strength of imagination,' Cary concludes that 'amongst the moderns ... the harmonious Thomson ... [is] unrivalled' as a practioner of both. 'I cannot help making this avowal however much it may operate against myself,' he declares, for his poem is in the most popular form of the period, the heroic couplet.
'Who hath given man speech?': Swinburne, Myths of Origin, and Logocentrism
Authors: Findlay
Published: March 2013

In 1866 the newly founded Société Linguistique de Paris formally excluded from its activities any consideration of the origins of language. This is one of many gestures during this period which mark the movement beyond Enlightenment conjecture and nineteenth-century philology to Saussurean linguistics, and thence to structuralism and poststructuralism, deep structures, and grammatology. In this paper I will reverse and simplify this sequence, and will begin by restating some of the principal contentions currently associated with the school of theory and criticism known as Deconstruction. I will then proceed to examine some of the analogues and antecedents of these contentions in mid-Victorian England, especially in the works of Swinburne, before concluding with a reassessment of the enduring importance of Swinburne for lovers of poetry and critical theory, and of the coherence and utility of Deconstruction itself.
On the Matter of the Text
Authors: Worthen
Published: March 2013

The following essay deals with one of the questions raised by the work of Stanley Fish, who ranks among the most important figures in North American literary theory over the past thirty years: the question of the status of the text. Fish has been perhaps the most prominent advocate for the thesis that the text is simply the product of the interpretive strategies brought to bear upon it by the reader, thereby reducing the text to the status of a tabula rasa, essentially a nonentity, which is nothing more than the (finally arbitrary) occasion for the expression of independently constructed and institutionally embodied norms. Fish developed his case in the context of an attack on 'formalism,' meaning any attempt to ground the reader's interpretation in features objectively inhering in the text itself. Interpretation indisputably exhibits certain 'forms' (definable and in principle replicable patterns); while the formalists (at the time the majority of literary critics) found the source of these forms in the text, Fish traced their origin rather to the activity of the reader and denied the text any ultimate role in their production.
Patriarchy, Pedagogy, and the Divided Self in The Taming of the Shrew
Authors: Sirluck Katherine
Published: March 2013

It would be difficult to prove a direct influence of the famous French sociologist Emile Durkheim (1859–1917) upon H.G. Wells. No substantive references to Durkheim, for example, appear in Wells's own works of sociological speculation. Nor is any such connection suggested in the major biographies of Wells. Nevertheless, Wells's own keen interest in the then nascent discipline of sociology is well documented, as is the fact of his membership in the Sociological Society (founded in May 1903), where Durkheim was generally an important influence. This would suggest at the least, that Wells had both the inclination and the opportunity to learn the gist of certain of Durkheim's key ideas. Moreover, given Wells's own personal interestin the subject of suicide, he undoubtedly would have been especially attentive to any discussion of Durkheim's famous treatise, Suicide, first published in 1897. Wells's sensitivity to the topic was likely sparked by his childhood suspicion that his father, Joseph Wells, had attempted suicide in October, 1877, when the family forrunes had taken a serious downturn. Moreover, it was only within a few years that an adolescent Wells, now made despondent by his life as a drapery assistant, would find himself similarly contemplating suicide if his father did not take action to get him released from his articles or apprenticeship.
Sympathy and the Social Value of Poetry: J. S. Mill's Literary Essays
Authors: Green Michele
Published: March 2013

In 1835, nearly a decade after the mental crisis which initiated his reevaluation of Benthamism, John Stuart Mill took another step towards intellectual independence with the launching of the London Review. As editor, he hoped that the London Review would represent 'a utilitarianism which takes into account the whole of human nature not the ratiocinative faculty only.' This more complete Utilitarianism depended upon the recognition that poetry was the 'necessary condition of any true and comprehensive Philosophy.' Throughout the 1830's, in a series of essays and reviews, Mill articulated his increasing realization of the significance of poetry to social philosophy. In the 1960s, John Robson and F. Parvin Sharpless convincingly demonstrated the connection between Mill's essays on poetry and his revision of Benthamism. Mill perceived that the social value of poetry lay in its potential for educating the affective elements of human nature. Poetry strengthened the individual's capacity for sympathy, for identifying with the pleasures and pains of others, thus reinforcing the bonds among individuals and sparking the desire to act for the good of others.
Romans 1
Authors: Patterson Janet
Published: March 2013

Reviews of French-Canadian novels published in Canada in 1990.
Poetry
Authors: Hatch Ronald
Published: March 2013

Reviews of poetry published in Canada in 1990.
Introduction
Authors: Pickrem Faye , Hutcheon Linda
Published: March 2013

`Cultural studies'—What is it? Who does it? Is it the transformed postmodern face of the Humanities for the 1990s? Or does it sound the death-knell for discrete disciplinary knowledge as we have come to know it? Is it the primary example of the politicization of the academy? Or does it represent a depoliticized love affair with popular culture? Is it simply the latest fad — an import, this time from Britain, not France? Or does its focus on interdisciplinarity and mass culture position it on the cutting edge of exciting and important new thinking about the academy and the role of those who teach and learn in it?
Reviews
Authors: Fortier Mark
Published: March 2013

Valda Blundell, John Shepherd, and Ian Taylor, eds., Relocating Cultural Studies: Developments in Theory and Research, reviewed by Mark Fortier

Brian Boigan, ed., Culture Lab, reviewed by Mark Fortier

Jessica Bradley and Lesley Johnstone, eds., Sightlines: Reading Contemporary Canadian Art, reviewed by Mark Fortier

Canadas Semiotext(e) 17, reviewed by Mark Fortier

Reading 'Kim' Right, reviewed by Mark Fortier

Frank Davey, Karla's Web: A Cultural Investigation of the Mahaffy-French Murders, reviewed by Mark Fortier

Ioan Davies, Cultural Studies and Beyond: Fragments of Empire, reviewed by Mark Fortier

John Fekete, Moral Panic Biopolitics Rising, reviewed by Mark Fortier

Sarah Franklin, Celia Lury, and Jackie Stacey, Off-Centre: Feminism and Cultural Studies, reviewed by Mark Fortier

Henry A. Giroux and Peter McLaren, eds., Between Borders: Pedagogy and the Politics of Cultural Studies, reviewed by Mark Fortier

Lawerence Grossberg, Cary Nelson, and Paul Treichler, eds., Cultural Studies, reviewed by Mark Fortier

Jerry D. Leonard, ed., Legal Studies as Cultural Studies: A Reader in (Post)modern Critical Theory, reviewed by Mark Fortier

John O'Neill, The Missing Child in Liberal Theory: Towards a Covenant Theory of Family, Community, Welfare and the civic State, reviewed by Mark Fortier
Reviews
Authors: Zimbardo Rose , Duffy Dennis
Published: March 2013

Brian Corman, Genre and Generic Change in English Comedy 1660–1710, reviewed by Rose A. Zimbardo

Arnold E. Davidson, Coyote Country Fictions of the Canadian West, reviewed by Dennis Duffy
Les non-lieux de Jean-Philippe Toussaint: bricol(l)age textuel et rhétorique du neutre
Authors: Fisher Dominique
Published: March 2013

Si la période actuelle dite postmoderne se caractérise par une quête excessive de réalisme dans un univers où le réel, largement synthétisé par la culture de l'image, n'est désormais saisissable comme l'a noté Lyotard que sur le « mode de la nostalgie ou de la dérisionl », les romans de Jean-Philippe Toussaint entrent bien dans le cadre d'une littérature qu'on pourrait appeler de simulation. Il y a chez Toussaint une « ténacité » à capter le réel en s'attardant sur des lieux, des événements, des situations et des objets du quotidien d'une banalité telle qu'ils ne sauraient dépayser le lecteur. Pourtant si les lieux, les situations et les objets mis en page semblent familiers, ils restent porteurs d'un « en trop », d'un excès de familiarité qui déréalise la référence: il s'agit en effet, écrit Toussaint, « d'épuiser la réalité, comme on peut épuiser une olive avec une fourchette, si vous voulez, en appuyant très légèrement de temps à autre ».
The Maw Tiles from Sherborne Villa
Authors: Richardson Douglas
Published: March 2013

With their vivid colours, smooth texture, and hard surface, Victorian floor tiles are an appealing and significant hybrid representing the union of art and industry, of neo-medieval taste and modern technology, of natural resources and chemical experiments. Such tiles produced by Maw and Company in the Ironbridge Gorge of Shropshire in the 1850s were immediately introduced into architectural practice in Canada at several Toronto sites. They document the rapid acceptance of ideas and the transmission of products fostered by the industrial revolution—from extraction, through production, to transportation, all powered by steam. Tile furnished by Maw and Company to pave one of these buildings, the long-demolished Sherborne Villa, is the focus of discussion here.
The Karmic Text: A Buddhist Reading of Jacques Derrida and Paul de Man Reading Walter Benjamin's `The Task of the Translator'
Authors: Humphries Jeff
Published: March 2013

Walter Benjamin's `The Task of the Translator' has become perhaps the one most frequently cited essay on the practice of translation. In so far as translation is itself an exemplary, in many ways hyperbolic, case of textuality, this makes it a key text in contemporary debates about literature. All many readers manage to do is point out the ways in which Benjamin's text remains a conundrum, despite the efforts of readers as gifted as Paul de Man to make sense of it. `The more specifically one presses these analogies,' Willis Barnstone writes, `the less certain the correct referents are, and the less lucid and more ambivalent becomes the fragmentary analogy that Benjamin offers us' (250). In this essay, I would like to juxtapose Benjamin's essay, and several deconstructionist readings of it—principally one by Jacques Derrida—with a Buddhist theory of textuality and translation. It appears that the Buddhist theory may afford a way out of Benjamin's conundrum that is also a way into it, which has up to now escaped even Derrida.
Pastoral and Masque at Ludlow
Authors: Lindheim Nancy
Published: March 2013

Our two major categories for defining Milton's Ludlow Maske — as masque and as pastoral — do not coexist very comfortably. The generic `split' between them only appears to be solved by subordinating one kind to the other (Rosemond Tuve, for example, even says, `given the genre, we expect pastoral elements' [133]). As a description, `pastoral masque' harbours paradox if not actual contradiction. The theory behind both the poetic and moral absolutes of the masque is Neoplatonism, with its sharp dichotomy between body and soul and its clear rejection of this world for another. Pastoral, on the other hand, builds its meanings in this world, most notably on the relationships among the creatures (usually men, shepherds) who live here. The masque's emphasis on `things subjected to understanding ... [above] those which are objected to sense' predisposes use of a personification allegory based on emblematic or other iconographical material that facilitates a rather simple didacticism. Pastoral, by reinforcing a second or counter-impulse of the masque, the drive to social integration that represents its formal closure, becomes in effect a way of complicating and even interrogating the stark outlines of the masque's aesthetic project.
Fortune et infortunes de la preéface: le cas de Marie Calumet de Rodolphe Girard
Authors: Guay Patrick
Published: March 2013

Je me propose de rendre compte ici de ce que Gérard Genette (1987) nomme la mouvance du paratexte, et plus particulièrement des motifs qui expliquent l'abandon, la reprise ou l'accumulation, au fil des rééditions d'une œuvre donnée, des textes d'escorte: préfaces, introductions et autres avant-propos, éléments paratextuels pouvant déterminer en partie l'accueil réservé à un ouvrage et à son auteur.
What Is the Price of Experience? William Blake and the Economics of Illuminated Painting
Authors: Bentley, Jr.
Published: March 2013

The word `Economics' has rarely been used in the context of William Blake. In a way, this is as it should be, for Blake never used the words `economics' or `economy' in his surviving writings, and some of his friends plainly thought that he did not know what`economy' meant. One should not expect that the man who wrote `Bring out number weight and measure in a year of dearth' and `Prudence is a rich ugly old maid courted by Incapacity' would have much sympathy with the rich, ugly balance sheets and prudent bottom lines of the Dismal Science.
'Nor th'exterior nor the inward man': The Problematic of Personal Identity in Hamlet
Authors: Levy Eric
Published: March 2013

Hamlet begins with an urgent questioning of identity: `Who's there?' A similar query is soon directed at the Ghost: `What art thou that usurp'st this time of night' (1.1.49). The interrogation is complicated by the very nature of the problem. For identity in this context is not simple but polar. That is, it comprises a totality whose two aspects are public and private or what Claudius terms `th'exterior' and `the inward man' (2.2.4). Therefore, if the question of identity is to be answered at the most fundamental level, the proper relation of the inward and outward dimensions of identity must first be determined. As we shall find, Hamlet profoundly critiques prevailing assumptions regarding this relation, and dramatizes an alternate conceptualization of human identity: `what is a man' (4.4.33).
Shakespeare and the Art of Making an Exit
Authors: Thomson Leslie
Published: March 2013

The genius that marks Shakespeare's work is apparent not just in such large matters as plotting, characterization, and language; it is also to be found in the smaller details — such as exits. In Shakespeare's use of them, exits do not merely get characters off stage, but are a means of dramatizing and encapsulating the chief concerns of a play. While I would not insist that he was the only playwright to capitalize on exits as he does, I believe one would be hard put to find the same subtle and ingenious use of them in the plays of his contemporaries. Even in Shakespeare's work, of course, not every exit can be related meaningfully to what the play is about: some are merely necessary, and are managed as simply as possible; but more often than not a character's departure from the stage is both itself a visual and verbal event which is directly pertinent to the issues at stake as well as one in a series of exits that highlights the tragic, comic, or tragicomic process of a play. And on the stage for which Shakespeare wrote, which had minimal scenery and no variable lighting, the potential significance of exits was doubtless more apparent, and perhaps more real, than it is today for both the playwright and his audience.
Elizabeth and the Apprenticeship of Parliament
Authors: Smith Goldwin
Published: March 2013

“Mr. Speaker, I find written in a little volume these words: ‘Sweet is the name of liberty, but the thing itself has a value beyond all inestimable treasure.’” So, on February 8, 1576, Peter Wentworth of Oxford began his famous speech before the House of Commons. “None is without fault, no not even our noble Queen,” declared Wentworth, and the amazed members of the House “out of a reverent regard for Her Majesty's honour” caused Peter Wentworth to be hastened to the Tower; his speech unfinished. It was, indeed, a consequence that he himself had foreseen. “My own fearful conceit did say unto me that this speech would carry me to the place whither I now shall go.”
Karl Marx, Freidrich Engels, and the South Slavic Problem in 1848-9
Authors: MacDonald H. Malcolm
Published: March 2013

Recent occurrences in Europe, culminating in, the partition of Czechoslovakia, have centred mens attention once more on the Bohemian Citadel and its position in the game of power politics. Those who are cognizant of the long-time trend of German imperialism, and of the views set forth in Mein Kampf, cannot justly feel any astonishment at the turn of contemporary events. Nor can they regard the Czechoslovakian drama as anything more than the prelude to a potential spear-head drive to the grain fields of the Ukraine and the oil wells of Roumania. It is widely known that German imperialist statesmen were long enchanted by the fata morgana of the “push towards the East,” but the fact that a similar attraction was felt by the so-called founders of “scientific Socialism” is much less generally recognized. It is, then, to the attitude of Karl Marx and Friedrich Engels towards the problem of the future of Central Europe and of the South Slavic peoples that we turn our attention.
Canadian Drama
Authors: Phelps Athur
Published: March 2013

Critical appraisal of the accomplishment by Canadians in the field of drama yields negative findings. Artistically we tend to be a derivative and flaccid people. In arama we are not much more than eager and delighted parasites, as our ninth Drama Festival so patently proclaimed.
The Case for Mark Twain's Wife
Authors: Ferguson Delancey
Published: March 2013

A few years ago it was usual for a successful man to ascribe all his success to his mother or his wife. Usually he was lying. The chances were that he would have succeeded as well had he been an unmarried orphan. The unsuccessful man also, after the fifth drink, used to confide that he might have amounted to something if his wife hadn't held him down and cramped his stye. He was usually lying, too. But only recently has biography imitated the bar-fly. Any woman in the life of a groan man is nowadays in a dangerous spot. If she has openly and demonstrably misbehaved, she need expect no chivalrous silence about her sins. If she has been the soul of chastity and circumspection, she will catch it just the same. Men of genius are proverbially gey ill to live with; women so indiscreet as to fall in love with them need seldom expect easy times. And nowadays they are begrudged even posthumous credit for their endurance. Amnbrose Bierce's phrase about tho “virtues and other vices” is applied literally. Since no artist is perfect, since every achievement must fall short of the ideal, biographers have sought in the intimate environment of tho artist the explanation of his imperfection.
Weirdness in the Comedy of Errors
Authors: Elliott
Published: March 2013

The “The” in the title of this play may be taken in a generic sense—that is, as the author's characteristically modest intimation that he has provided merely one more species of a well recognized genus. “Here,” says he, “are the Twins of Plautus again; here is the age-old comedy of resemblances.” But time has made the “The” distinctive: here is indeed the comedy of errors. It is hard to see how the hoary sport of mistaken identities could be better worked up as the central theme of a drama.
Democracy Today
Authors: Lindsay
Published: March 2013

This is a remarkable book, written by a remarkable man. It is not an academic treatise, but a profession of faith, a diagnosis of what has gone wrong with democracy since the war, and a rallying call for the future.
French-Canadian Letters
Authors: Walter Felix
Published: March 2013

Reviews of French-Canadian books published in 1939.
New-Canadian Letters
Authors: Kirkconnell Watson
Published: March 2013

Reviews of English-Canadian books published in Canada in 1939.
The Protective Effect of Glibenclamide in a Model of Hemorrhagic Encephalopathy of Prematurity
Authors: Tosun Cigdem , Koltz Michael , Kurland David , Ijaz Hina , Gurakar Melda , Schwartzbauer Gary , Coksaygan Turhan , Ivanova Svetlana , Gerzanich Volodymyr , Simard J.
Published: March 2013

We studied a model of hemorrhagic encephalopathy of prematurity (EP) that closely recapitulates findings in humans with hemorrhagic EP. This model involves tandem insults of 20 min intrauterine ischemia (IUI) plus an episode of elevated venous pressure induced by intraperitoneal glycerol on post-natal day (P) 0. We examined Sur1 expression, which is upregulated after focal ischemia but has not been studied after brief global ischemia including IUI. We found that 20 min IUI resulted in robust upregulation of Sur1 in periventricular microvessels and tissues. We studied tandem insult pups from untreated or vehicle-treated dams (TI-CTR), and tandem insult pups from dams administered a low-dose, non-hypoglycemogenic infusion of the Sur1 blocker, glibenclamide, for 1 week after IUI (TI-GLIB). Compared to pups from the TI-CTR group, pups from the TI-GLIB group had significantly fewer and less severe hemorrhages on P1, performed significantly better on the beam walk and accelerating Rotarod on P35 and in tests of thigmotaxis and rapid learning on P35–49, and had significantly greater body and brain weights at P52. We conclude that low-dose glibenclamide administered to the mother at the end of pregnancy protects pups subjected to IUI from post-natal events of elevated venous pressure and its consequences.