bluuebunny/crossref_metadata_2025 huggingface dataset:
Friction, Voice, and the Rough Ground of Feeling: V.S. Naipul after Twenty Five Years
Authors: Healy
Published: March 2013

In a somewhat Forster-like flourish, Irving Howe recently finished his intellectual autobiography, Margins of Hope, with an invitation: ' ... Let me bid four writers of my own time to an imaginary but not wholly unimaginable meeting. They sit in my apartment: Octavio Paz, the Mexican; Milan Kundera, the Czech; V.S. Naipaul, the Trinidadian; George Konrad, the Hungarian.' On the face of it, this is an unusual quartet. One does not usually see V.S. Naipaul in this company. What, according to Howe, do they have in common? This is his answer: 'God died in the nineteenth century, utopia in the twentieth. The writers gathered here, all endowed with a keen political sense, have sung their dirge of utopia. Their voices ring with scepticism, doubt, weariness: they are the poets of limitation.' As the poets of limitation, they are also the authentic voices of their time and of their societies. Yet what would be conceded in the case of Kundera and Konrad, admitted in the case of Paz, is often withheld in the case of Naipaul. Perhaps because the historical and social shape of the Caribbean is either less visible or less pressing, the voice of scepticism, doubt, and weariness is often seen as idiosyncratic and perverse in a personal sense in Naipaul's work; a keen political sense is what he is felt emphatically not to have. A case could be made, of course, that the acidic and bitter clarity of Kundera and Konrad is 'sustained' by the tangible oppression they work in and against. After Orwell, Koestler, Bruno Schultz, we know what Kundera and Konrad are up against and why they write as they do. They are backed by central miseries and perceptions of our time.
Leibniz in other Worlds
Authors: Hunter Graeme
Published: March 2013

It is a commonplace among general readers to believe that the philosopher Leibniz is aptly and accurately portrayed as Pangloss in Voltaire's Candide. Such is the merit of that philosophical satire that it seems, as it were, to carry with it its own certificate of success. It is equally habitual and common, however, for historians of philosophy to repudiate Dr Pangloss as a weak caricature of the German master. Such a split between the partisans and non-partisans of Leibniz was indeed foretold as early as the critical notice of Candide which appeared in the Journal Encyclopédique in 1759.
'When No Man Was His Own': Magic and Self-Discovery in The Tempest
Authors: Belton Ellen
Published: March 2013

D.G. James says that in The Tempest 'we behold ... the mind of Europe saying farewell to magic as a part of its imagination of the world.' Many studies have explored the influences of different philosophical and occult traditions on Shakespeare's handling of this subject. However, there is one important element in Prospero's magic that, while it certainly formed a part of the folk belief of the period, receives little attention either from contemporary authorities on magic or from modern criticism.
The Tempest as Romance and Anti-Romance
Authors: Hillman Richard
Published: March 2013

By 1611, when The Tempest was probably written, Shakespeare's audiences had reason to count on certain basic returns from romantic comedy or tragicomedy. Above all, Sidney and Jonson notwithstanding, they could expect to travel widely—in place, in time, in the realm of imagination generally. The ultimate liberation offered was not from the spiritual oppression of tragedy, not even from the 'real' world, but from the tyranny of logic itself, the narrow bounds of possibility recognized by the rational mind. So much is at least implicit in most recent criticism of Shakespearean romantic drama. What I wish to propose here is that The Tempest takes these principles farther than its predecessors in order to subvert them. The fantastic elements that proclaim its genre prove, in the end, as insubstantial as Prospero's spirit-actors and, like them, vanish into thin air to leave disturbing resonances.
Tennyson's Faith: A Re-examination
Authors: Hair Donald
Published: March 2013

Tennyson's central beliefs are well known, and his grandson summarizes them admirably at the end of his essay on 'Tennyson's Religion': 'the guidance of the Universe by a God who is Love,' 'the revelation of God's love and the divine law through Jesus Christ,' 'the immortality of the human spirit,' and 'the freedom of the human will.' Equally well known is the unsystematic way in which Tennyson held these beliefs: 'he was certainly no regular church-goer,' Robert Martin says of the about-to-bemarried poet, and Hallam Tennyson notes his father's consistent refusal to formulate his creed: "he thought, with Arthur Hallam, that 'the essential feelings of religion subsist in the utmost diversity of forms.'" This liberalism was neither hazy nor lazy; it was based on Tennyson's acute perception of actual human experience, particularly his own, with all its depths and heights, starts and hesitations, calms and alarms. Such experience was a fruitful source for the poetry, and accounts for the complex and sometimes contradictory ways in which In Memoriam, for instance, is organized. Alan Sinfield, James Kincaid, Dwight Culler, and others have explored these complexities skilfully, and their analyses give fresh force to the assertion that Tennyson bases his faith on actual experience. Revelation, the Bible, miracles, and the authority of the church were (and are) conventional foundations for faith, and Tennyson does not exclude these from consideration, but his central concern is life as it is actually lived. We know a great deal about Tennyson's life as he actually lived it, thanks to Robert Martin's superb biography, but we know less about the intellectual background of Tennyson's position. Not, I hasten to add, about his faith in the context of the science of his age, for Douglas Bush, Lionel Stevenson, Georg Roppen, and others have examined such matters as Tennyson's treatment of astronomy and evolution in relation to belief. But the view that human life itself is the basis of faith—that has a context that needs exploring.
The Self-Mirroring Mind in Milton and Traherne
Authors: Snider Alvin
Published: March 2013

The high point of the poetic sequence titled 'Divine Reflections on the Native Objects of an Infant-Ey,' and one of Thomas Traherne's most widely anthologized pieces—many would say his best—is 'Shadows in the Water.' The poem describes a childhood experience, the perceptual error or 'sweet Mistake' of the poet's younger self upon seeing his own image reflected in a puddle of water. In a primal scene of instruction, the child imagines (or images forth) the existence of another world canopied under an inverted heaven and inhabited by a tribe of 'Water People.' The child's error becomes a source of visionary understanding that he carries over into adulthood; he learns of the existence of a duplicate, inward, and seemingly insubstantial world that suddenly impinges upon reality.
Suzanne's 'cri animal': Aural and Musical Imagery in Diderot's La Religieuse
Authors: Simonton
Published: March 2013

Diderot's indebtedness to John Locke's theory of the senses has long provided scholars with a sound extra-literary basis for studies of the sensual imagery in his fiction. While Diderot examined each of the senses, he was primarily interested in vision, a fact which helps explain the critical evaluation of visual imagery in many of his works and particularly in the subject of this study, La Religieuse,. In his Lettre sur les aveugles (1749) and Lettre sur les sourds et muets (1751), Diderot concentrated on practical applications of Locke's ideas by investigating test cases of the sensory impaired in order to assess normal sensory development. Both of these essays devoted considerable attention to the significance of aural sensitivity; the Lettre sur les sourds et muets laid the foundation for his aesthetic and musical theories, developing hearing as the link between music and literature.
Memories of the Great War: Graves, Sassoon, and Findley
Authors: McKenzie
Published: March 2013

In recent years, several new books about World War I have appeared, ranging from Alexander Solzhenitsyn's novel August 1914 (1971) to Paul Fussell's The Great War and Modern Memory (1975) and Peter Vansittart's Voices from the Great War (1981). These writers are continuing the critical examination of the First World War that was begun by poets and novelists even while it was in progress. Henri Barbusse was the first novelist to attempt to shock the public into an anti-martial frame of mind with Le Feu (1916). While many of their contemporaries were engaged in war propaganda commissioned by the government,' some British soldier poets, including Robert Graves, Siegfried Sassoon, and Wilfred Owen, startled their readers with realistic verses written in the trenches and while on leave or in hospital in England. In the decades immediately following the war, writers continued to question its glory. In 1928, Erich Maria Remarque's Im Westen Nichts Neues offered a pattern for the study of innocence wasted and destroyed by war. In the same year, Siegfried Sassoon began his attempt to understand and record what had happened to him. His memories are found both in the semi-fictional trilogy comprised of Memoirs of a Fox-Hunting Man (1928), Memoirs of an Infantry Officer (1930), and Sherston's Progress (1936), finally published together in 1937 as The Complete Memoirs of George Sherston, and in the more directly autobiographical Siegfried's Journey: 1916–1920 (1945). Graves's recollections of his war experiences form a significant part of Good-bye to All That (1929). The features common to all these works include stark realism in depicting the horrors of conflict, an emphasis on the psychological effects on individuals, and an ironic probing of the motivation behind the war as well as of the manner in which it was conducted. These qualities have become characteristic of a tradition of war literature in this century.
Fiction
Authors: Levene Mark , Dixon Michael
Published: March 2013

Reviews of fiction published in Canada in 1985.
The Catabatic Structure of Satan's Quest
Authors: McCarty Willard
Published: March 2013

Like the epic heroes of classical antiquity, the Satan of Milton's Paradise Lost descends into a lower world where he discovers his identity and fate, then returns, though imperfectly and with great hardship, to an upper world. The pattern of this descent and return is what the Greeks called a katábasis, one of the characteristic accomplishments of a hero. Catabasis is a complex, protean motif. In classical myth it is found where expected, in stories of descent into a literal underworld, but as a narrative structure or kind of story it has a much wider domain, both in the classics and in later literature. In the first half of this paper I will attempt to define the protean identity of the classical catabasis by examining a few myths for the ways in which they modulate the heroic pattern of descent and return, particularly by juxtaposition with its opposite, the infernal anábasis or rapacious ascent from a lower world and return there with the spoils of the upper regions. We will see that these opposed patterns and the mythical figures who live them mirror each other in their opposition and, under certain circumstances, become identified. Then, in the second half, I will show how knowledge of the catabatic genre illuminates some of the obvious and hidden patterns in the quest of Satan. In more general terms, my primary aim will be to establish catabasis as a literary context for Paradise Lost, and then to suggest by example how our understanding of the poem as a whole is enlarged by it.
The Sun Also Rises': Hemingway and the Art of Repetition
Authors: Budick E. Miller
Published: March 2013

For the larger part of Hemingway's The Sun Also Rises, Jake's autobiographical narrative consists of a psychological fantasy in which neurosis has overtaken literature and the story has resisted consolidation into a work of art. In Hemingway's narrative structure, Jake Barnes and Robert Cohn, along with the stories which they tell or which are told about them, enact the book's major themes, one of which is the failure of certain kinds of story-telling to achieve dramatic objectivity and literary power. In Jake's narrative seen in itself, however, characters and events demonstrate his unconscious, uncontrolled projections and repressions. Cohn, for example, can be understood in Jake's story as representing one such unintentional projection in which Jake identifies with qualities he himself does not possess—himself as boxing champion, lady's man, successful writer—and in which he reveals the feelings of emotional inadequacy, effeminacy, and impotence which on a conscious level he represses. This disjunction between authorial and narrative texts is, I believe, an explicit concern of the book. Hemingway writes and rewrites Jake's autobiography in order to demonstrate the difference between the mindless and uncritical repetitions of life and literature, which conceal and distort, and the revisionary texts which interpretatively reproduce the repeating patterns of experience and, in so doing, create the possibility for psychological health and purposeful art.
Flying in the Face of Tradition: A New View of The Owl and the Nightingale
Authors: Barratt Alexandra
Published: March 2013

The Owl and the Nightingale is a poem much studied by fully fledged and fledgling philologists, but it continues to bemuse literary scholars, in spite of a general consensus that it is the only pre-Chaucerian poem to rival Chaucer's subtlety and wit. What is it about? When was it written, by whom, why was it written in English, who was its original audience? This paper will suggest that The Owl and the Nightingale was written in the early thirteenth century, for and by a religious community of women, specifically the Benedictine abbey of Shaftesbury, and that it is a celebration of the rule of law which had by then replaced the rough and largely physical justice of the earlier Middle Ages. This seems borne out by the Owl's deliberate rejection of the inherent advantages given her by her physical superiority, both at the beginning and the end of the debate (e.g. at lines 51 and 1689–96), and the emphasis throughout the poem on the need for reasoned argument, not merely assertion, insult, or brute force. Such a theme is inextricably bound up with the dating, language, authorship, and audience of the poem.
History and the Canon: The Case of Doctor Faustus
Authors: Keefer Michael
Published: March 2013

The relationship between the two key words of my title is a curiously intricate one. Since the notion of canonicity implies a controlled transmission of the past into the future, to talk about literary canons is also, unavoidably, to invoke one or another view of history. Yet, paradoxically, some of the recently and currently most influential critical positions have encouraged understandings of canonicity that are thoroughly anti-historical. I shall be concerned in the first part of this essay with some of the implications of this paradox. In the second part, turning to Marlowe's Doctor Faustus, a play that is by common consent of some importance in our literary canon, I will consider certain practical consequences, both textual and interpretive, of attempts to lift the canon out of history.
Louis MacNeice's Poetry of Ambivalence
Authors: Kirkham Michael
Published: March 2013

'MacSpaunday,' a satirical acronym formed from the names MacNeice, Spender, Auden, and Day Lewis, was Roy Campbell's label for the group of poets who dominated the English literary scene in the 1930S and whose work, in the foreshortening perspective of literary history, has been taken to be not only the most characteristic but also the most interesting poetry of the period. The high esteem enjoyed by Stephen Spender and C. Day Lewis was an accident of literary fashion; of the four only W.H. Auden and his friend Louis MacNeice poetically survived the thirties to produce a body of poetry that has outlasted their early reputations. In the case of Auden, criticism and exegesis have established a degree of clarity. Assessments of his poetry as a whole, identification of its strengths and weaknesses, and preferences between different parts of his work may vary widely, but there is approximate agreement on what the critical issues are. MacNeice is not so fortunate. His middle and later work, unjustly, received less attention than his earliest. Since his death in 1963, it is true, several books about his poetry have appeared; but though he has become at least subject for academic study, he has not become, so far as I am aware, a subject of discussion.
Reviews
Authors: De Luca  , Roberts Jane , Munk Linda , Ponomareff Constantin
Published: March 2013

Morris Eaves and Michael Fischer, eds., Romanticism and Contemporary Criticism, reviewed by V. A. De Luca

Arden Reed, ed., Romanticism and Contemporary Criticism, reviewed by V. A. De Luca

David Fite, Harold Bloom: The Rhetoric of Romantic Vision, reviewed by V. A. De Luca

Angela Leighton, Shelley and the Sublime: An Interpretation of the Major Poems, reviewed by V. A. De Luca

Kenneth R. Johnston, Wordsworth and 'The Recluse', reviewed by V. A. De Luca

Louis Crompton, Byron and Greek Love: Homophobia in 19th-Century England, reviewed by V. A. De Luca

Jean H. Hagstrum, The Romantic Body: Love and Sexuality in Keats, Wordsworth and Blake, reviewed by V. A. De Luca

David Yerkes, ed., The Old English Life of Machutus, reviewed by Jane Roberts

Greg Johnson, Emily Dickinson: Perception and the Poet's Quest , reviewed by Linda Munk

André von Gronicka, The Russian Image of Goethe: Goethe in Russian Literature of the Second Half of the Nineteenth Century Volume 2, reviewed by Constantin V. Ponomareff
Une révérence réciproque: Huguenot Writing on the New World
Authors: Whatley Janet
Published: March 2013

In the late sixteenth century, the struggle between Catholics and Protestants was being extended to the New World, albeit more in idea than in physical presence. Although the Protestants had been able to establish no long-term material footing in the Americas, they were fighting for an intellectual and moral influence over how the experience of discovery and expansion would be assimilated by Europe: what providential meanings would be attributed to the discovery; what values would be attached to the human lives newly encountered; how the conduct of the conquerors would be judged. (There were, of course, crucial debates within Catholicism itself as well on all these points.) I am going to discuss a small group of interrelated texts which illustrate the different kinds of meaning America was acquiring for Europe, and just how their authors were cooperating or competing in the interpretation of New World experience.
Nothing but the Truth: The Case of Pierre Rivière
Authors: Tennessen Carol
Published: March 2013

Contemporary thinkers as diverse as Michel Foucault and Erving Goffman are no longer confident that a sign can exchange for meaning; that is, they suggest that we can no longer look at words as trustworthy substitutes for the 'real' objects and situations to which those words supposedly refer. This is not to say that narrative accounts are unrelated to reality but rather to warn us that the meaning of those accounts is always closely edited and socially constructed. Foucault tells us in The Order of Things that in the sixteenth century language and things were endlessly interwoven, but that this is no longer so. The age of resemblance, he says, is drawing to a close. He argues, in particular, that while representation has always aimed at likeness, words and things do not resemble one another any more; therefore the written word—and I would add the spoken word as well—can no longer be a mark of the truth.
Reviews
Authors: Levenson Jill , Gates David , Rosenberg Aubrey , Hair Donald
Published: March 2013

Joseph H. Summers, Dreams of Love and Power: On Shakespeare's Plays reviewed by Jill L. Levenson

Richard A Levin, Love and Society in Shakespearean Comedy: A Study of Dramatic Form and Content, reviewed by Jill L. Levenson

David M. Bergeron, Shakespeare's Romances and the Royal Family, reviewed by Jill L. Levenson

William C. Carroll, The Metamorphoses of Shakespearean Comedy, reviewed by Jill L. Levenson

Michael Goldman, Acting and Action in shakespearean Tragedy, reviewed by Jill L. Levenson

Jean E. Howard, shakespeare's Art of Orchestration: Stage Technique and Audience Response, reviewed by Jill L. Levenson

Philip c. McGuire, Speechless Dialect: Shakespeare's Open Silences, reviewed by Jill L. Levenson

James R. Siemon, Shakespearean Iconoclasm, reviewed by Jill L. Levenson

Harriett Hawkins, The Devil's Party: Critical Counter-interpretations of Shakespearian Drama, reviewed by Jill L. Levenson

William Patrick Day, In the Circles of Fear and Desire: A Study of Gothic Fantasy, reviewed by David Gates

Jean Sgard, L'Abbé Prévost. Labyrinthes de la mémoire, reviewed by Aubrey Rosenberg

W. David Shaw, The Lucid Veil: Poetic Truth in the Victorian Age, reviewed by Donald S. Hair
Appalling Property in Othello
Authors: Calderwood James
Published: March 2013

If the first act of Othello were to be given a title, Freud might well have nominated Civilization and Its Discontents, because it so clearly illustrates his argument about the sublimation of the barbaric in favour of the civilized. In this case the barbaric takes the likeness of the Moor—not Shakespeare's Moor but Iago's Moor, the 'old black ram' that 'Even now, now, very now,' he delicately informs Brabantio, 'is tupping your white ewe' (I.ii.88). Iago's Moor is a domestic version of the Turks who are also now, even now, threatening to seize and rape Venice's property in Cyprus. As such, he is a pirate who has boarded Brabantio's 'landcarrack' (I.ii.50), made off with the magnifico's 'jewel' (I.iii.198), and 'stowed' her away for his own savage uses (I.ii.63).
'The Mighty Kingdom of Krinke Kesmes': Terra Australis Incognita Revisited
Authors: Rosenberg Aubrey
Published: March 2013

Of the many accounts of real and imaginary expeditions to Terra Australis Incognita, the Dutch imaginary voyage, Beschryvinge van het magtig Koningryk Krinke Kesmes ('A Description of the Mighty Kingdom of Krinke Kesmes'), written by Hendrik Smeeks and first published in Amsterdam in 1708, has attracted little notice from those interested in the history of utopias, mainly because the work as a whole has never been translated into languages more widely accessible. As we shall see, part of the novel has already been much discussed in the English-speaking world, but the rest of it has been neglected. The purpose of this article is to remedy that defect.
Heart of Darkness: The Sublime Spectacle
Authors: Anderson Walter
Published: March 2013

Most critics see Kurtz as the morally hollow man who, kicking his feet loose from the earth, utterly loses his soul in Africa. Marlow wonders, while travelling up the Congo, whether he will find 'an angel or a fiend,' and there has been little question about which of the two he discovers. Kurtz has been labelled 'diabolical Christ,' Lucifer, even a 'hero' of the primitive unconscious. With few exceptions, commentary centres on his 'exalted and incredible degradation,' through which, it is argued, we may glimpse the potential for evil underlying Western civilization. Some find Heart of Darkness prophetic of such twentieth-century atrocities as those perpetrated by Nazi Germany or, more lately, in Vietnam and Cambodia. For Thomas Moser, Kurtz's last words, the echo of his dark descent, represent Conrad's most extreme expression of his own pessimism. Similarly, Ian Watt considers the story to be Conrad's 'most direct expression of his doubts about the foundations of human thought and action.' Finding Conradian darkness present 'at every moment and in every thing and person,' J. Hillis Miller concludes that 'it was, no doubt, an understanding of this attitude in Conrad that led the Polish critic Stefan Napierski to ask: 'Do they not feel despair lurking behind these truly nihilistic books?' Views of Conrad as a pessimistic poet of darkness are contrary to almost everything he ever said about his own art, yet they have become critical commonplaces, devolving into the literary handbooks, which uniformly locate the meaning of Heart of Darkness in Kurtz's terrible failure. The ultimate meaning of this tale remains, I believe, unaccommodated by such a view.
Reading Locke and Newton as Literature
Authors: Wilson Milton
Published: March 2013

What does one expect from a title like 'Reading Locke and Newton as Literature'? Maybe some account of their prose style, or, more broadly, of their rhetoric, as it contributes to the persuasive quality of what they are arguing for. Well, it would certainly be possible to include my particular concerns, plus plenty of other matters, under the broad umbrella of rhetoric. But what I really want to do is discuss Locke and Newton in terms which would not seem out of place in a course on poetry or drama or, more especially, fiction. I am thinking of such long-standing critical topics as narration, point of view, characteristic diction, patterns of images or exempla, quality of mimetic detail, even creative myth-making or imaginative range. And I am interested not so much in how these things contribute to the arguments of Locke and Newton as in how they don't: that is to say, in how the excesses and unpredictabilities of these authors' literary invention go beyond the philosophy (or natural philosophy in Newton's case) in ways that, while not always subversive of the philosophic purpose, manage to seem somehow self-sustaining. Obviously my two authors are not among those philosophical changelings whom poets are fond of claiming as their brethren, like Plato or Nietzsche. No librarian has ever had second thoughts about shelving Locke's Essay concerning Human Understanding or Newton's Opticks. What follows is, I suppose, an attempt to provide grounds for such an idiosyncratic librarian. I should add that, although this paper contains few specific debts to them, I nevertheless feel hovering over its pages the presence of three former teachers in Toronto's English department: I am thinking of Kenneth MacLean and Rosalie Colie on Locke and F.E.L. Priestley on Newton.
Forms of Misprision: >The Early- and Mid-Victorian Reception of Goethe's Bildungsidee
Authors: Jeffers Thomas
Published: March 2013

Goethe's Wilhelm Meister had been introduced to English readers by Carlyle, whose 1824 translation was reissued in America in 1865, and reviewed by the young Henry James: 'It might almost be called a treatise on moral economy—a work intended to show how the experience of life may least be wasted, and best be turned to account. This fact gives it a seriousness which is almost sublime' (947–8). The story of the English appropriation of Goethe's work has been sketched before, early by Jean-Marie Carré and Susanne Howe, and more recently by Rosemary Ashton, David De Laura, and Patrick Crury. My purpose in sketching it again is to focus on what Harold Bloom would call the strong misreadings of Goethe perpetrated by Carlyle, J.S. Mill, Pater, and Matthew Arnold, acts of not ill-willed misprision which derived from these Victorians' uneasy sense of their own belatedness, vis-à-vis both Goethe—'Physician of the iron age,' as Arnold called him—and Goethe's cherished Greeks.
Wittgenstein, Russell, and the Self
Authors: Tully
Published: March 2013

I want to talk about some intriguing aspects of the work of Russell and Wittgenstein during the period of their allegiance to logical atomism. It may come as a relief to learn that my interest here has nothing directly to do with mathematical logic or with the formal theory of language, but it is only right to acknowledge right off that, concerning logical atomism, especially Wittgenstein's, the verdict of history seems already to have been given about the relatively greater importance of formal topics. Questions regarding mysticism and the general character of experience (again, especially in regard to Wittgenstein) are held to be of secondary importance at best. I think that the reluctance of commentators to broach these questions when talking about Wittgenstein is partly to be explained by the fact that the philosopher himself has been the primary commentator on his early work: before another commentator ever arrived on the scene, the master had already come and gone, but not before laying down a fresh new commentary on an old piece of work. Part of the later Wittgenstein's vocation as a philosopher was to teach us how to identify the errors and attitudes of his earlier work, and in his eyes these had to do mainly with a mistaken theory of meaning. It is a curious case in the history of philosophy where the very subject under study has been able to exercise a seemingly permanent influence on posterity's attitudes towards his work. In any case, issues related to mysticism and the nature of experience are supposed to be neutralized by logical atomism. The doctrine itself, at least as Wittgenstein developed it, nurtures its own immunity against them. One can either dismiss them outright as nonsense or adopt an attitude towards them of self-imposed, knowing silence. So any attempt to take up such issues invites the logical atomist's reproach: either you have failed to appreciate that in any proper sense you cannot say anything about these matters, or you have not learned the need for prudent silence. It is evident I have chosen the latter horn.
'Exil'd From Light': The Darkened Moral Consciousness of Milton's Hero of Faith
Authors: Wood Derek
Published: March 2013

Disagreements are still liable to arise over the heroic status of Satan in Paradise Lost, but perhaps the most serious division of opinion among readers of Milton for some time to come will be over another questionable heroic figure, his Samson. Most readers still consider that Samson is a tragic hero intended to command admiration and respect, and that Milton presents him as a model for Christian imitation. However, the questions and doubts are increasing. When Anthony Low pictured Samson as a gloriously triumphant Christian hero, 'the image and example of the champion of God' (Low, 117), he dismissed objections to Samson's violence by turning to Milton's prose where force seems to be justified if it is used by the Christian magistrate against God's enemies. Mary Ann Radzinowicz concluded that the destruction of the temple is 'a human imaging of God's might ... an exemplary act which teaches how God gives freedom' (346). Many scholars have turned to typological hermeneutics to explain Samson's behaviour. In typological exegesis, the Old Testament is seen as prefiguring the New Testament, although darkly. There is similitude in dissimilitude. Old Testament heroes such as Adam and Judas Maccabeus are types of Christ, the antitype, although the type can never be quite the same as the perfect antitype. So Samson delivering the Jews from subjection to the Philistines is for Scott-Craig a type of Christ the redeemer, while for Barbara Lewalski the terrible judgment Samson visits on the Philistines typifies Christ in final apocalyptic judgment. Yet Carey, reading the same text, finds in Samson 'no spiritual development, only ... resentment, which has been gnawing inwardly' (139). Readers who find it impossible to accept that Samson is an exemplary Christian have recently received powerful support from J. W. Wittreich, who insists that 'Milton's "martyrplay" is ... less a celebration than a censure of its hero' (326). He draws support from a vein of contemporary Renaissance allusion 'that exhibits a tarnished Samson—a Samson who, nurtured in blood, delights in vengeance and whose enterprise entails the wretched interchange of wrong for wrong' (245).
Tongue-Tied Eloquence: Notes on Language, Exile, and Writing
Authors: Baranczak Sanislaw
Published: March 2013

Among many hilarious, outrageous, sublime, crazy, profound, or otherwise memorable scenes that fill the pages of Josef Skvorecky's unparalleled The Engineer of Human Souls, one brief episode seems to me particularly pregnant with meaning. One of the novel's minor characters, Milan, a recent Czech defector granted asylum in Canada, is throwing a housewarming party. Except for his Canadian girlfriend, all the guests are, not unexpectedly, Czech émigrés. On the list of things that are the hardest to translate into another language, jokes come a dose second after rhymed poetry (whereas love entreaties, as Barbara pretends not to realize, are among the easiest, if they require any translation at all). This is particularly true when the jokes are Eastern European, and told anywhere west of the Iron Curtain. Though no intellectual giant, Skvorecky's Milan understands that instinctively and immediately.
Symposium: The Professionalization of Intellectuals
Authors: Adamowski  , Doucette L. E. , Solecki Sam
Published: March 2013

It is with pleasure that we publish the responses to our recent letter, published in volume 58, number 2, on the professionalization of intellectuals. For readers who missed the issue in which the letter appeared, it is reprinted below, but we do not plan to attempt here any overview of the responses. Readers of UTQ may judge for themselves whether there are in the responses serious disagreements, common themes, etc. Editorial caution may be also be in order because of the criticism our letter received from several contributors. Indeed, a reader in Ottawa objected to our view that the 'majority of intellectuals are in the universities. I think that the statement is too sweeping. There is no way of making an accurate count, but in other walks of life there are many who can rightly be classed as intellectuals. For example, there are many in the legal profession, notably among appellate court judges, among the clergy, in many branches of the civil services, on the staff of the National Research Council, and in fact, in the research departments of manufacturing and commercial companies.' We are sure that this reader (who also faults UTQ for publishing excessively specialized articles) is correct in this list, although we suspect, still, that the 'majority' of intellectuals are in the universities.
Social Science Intellectuals and Public Issues in English Canada
Authors: Brym Robert , Myles John
Published: March 2013

It is not surprising that a quarter century after the explosive growth of Canada's post-secondary educational system we are witnessing concern over the failure of academic intellectuals to play a more important role in public life. The large generation of then-young scholars—now the middle-aged professoriate—was hired in the first instance to teach. Its responsibility was to lecture to the baby boomers who filled the nation's classrooms in the 1960s and early 1970s, not to be 'public intellectuals' with the task of addressing an educated public in print. For social scientists the job was compounded by the need to create teaching materials, to 'Canadianize' their disciplines by writing textbooks and readers so that their students might know as much about the Canadian social, political, and economic systems as they could about those of the United States and the United Kingdom.
On the Professionalization of Intellectuals
Authors: Cooper Barry
Published: March 2013

Two separate questions are contained by the topic indicated in the title: Who is a professional? Who are the intellectuals? Regarding the first, there can surely be no doubt that, however understood, professors are professionals. Though they are usually no longer professed, in the sense of having taken solemn religious vows, they do themselves profess, that is, openly teach and declare aloud. But they do it nowadays in universities, and universities are to a degree cut off from the society and productive economy that nourishes them. The separation of professors from society may account for their oft-deplored isolation. Not all professionals are so separated or isolated from society. Consider doctors or lawyers, for example. Accordingly, separation from society may be seen as a peculiar attribute, among professionals, of professors.
The Language of Scholarship
Authors: Dudek Louis
Published: March 2013

The subject of universities in relation to society in general is a very large one, and I can only contribute to some part of it by considering the language of scholarship and the plight into which academic language has fallen in recent times. Language, however, is at the centre of the problem of communication between the university and society, so that this question bears directly on the subject of the present symposium.
Reply to Questionnaire
Authors: Fraser John
Published: March 2013

I've read and reread your letter and questions but remain puzzled. Symposiums of this sort are normally geared to possible action—'Is too much money being spent on high-tech medicine and not enough on preventitive medicine?', 'Should the UTQ devote more of its space to politics?', and so forth. Here I can't see what is being aimed at, not explicitly anyway, and facing your plethora of questions I feel as if I were trapped amid the labyrinthine options and permutations of a diet sheet. Moreover, when I read or dip into journals like the New York Review of Books, Commentary, and Scientific American, I see no lack of intelligent academics writing clearly for intelligent non-specialist readers without talking down to them and without losing sight of the fellow specialists waiting to pounce on them in the correspondence columns. Nor is the prose in high-tech journals like Critical Inquiry always hopelessly coruscated.
Pound, Modernism, and Facism
Authors: Surette Leon
Published: March 2013

Alfred Kazin's long article in the New York Review of Books, 'The Fascination and Terror of Ezra Pound,' is one of several recent 'correctives' to the allegedly dominant view of Pound as a maligned genius of the Modern Age. Kazin's central point is that Pound was fascist and racist from the 1930S until his death. On this point there can be no argument, even though Pound scholars have long endeavoured to avoid admitting it. In the article Kazin makes several telling—and wise—points about Pound's work and career. His rather extreme claim that Pound 'identified modernism as a fundamental revolution in consciousness whose social correlatives were fascism—to the end—and bolshevism in its beginnings'(16) may even be true. And Kazin's call for a rewriting of twentieth-century cultural history is justified, if not his assumption that such a rewriting must be revisionist.
The Historical Conditions of Possibility of the Rise and Fall of Sartrean Existentialism and Existential Marxism
Authors: Wood Philip
Published: March 2013

For close to thirty years now, since his fall from intellectual paramountcy in Paris, there have existed essentially two attitudes towards Sartre. Among those who have shaped received intellectual opinion in France in these decades, the attitude has generally consisted either in a stony silence or in occasional off-the-cuff crushing dismissals. On the other hand, distinct from this dominant attitude of dismissal but perhaps symmetrical to it, there has been the response of a dwindling chapelle of fidèles which has sought to keep an interest in Sartre's work alive despite the fact that every indication of the last thirty years has pointed to the permanent obsolescence of his work in the eyes of dominant opinion.
Swinburne: A Centenary Estimate
Authors: Brown
Published: March 2013

The centenary of Swinburne's birth falls at a time when the excellences of Swinburne's poetry are unlikely to receive their due. In a recent study (1931), Mr. W. R. Rutland, writing as a professed admirer, suggests that Swinburne is as remote as the Elizabethans; he belongs to the past, as unquestionably as Hardy belongs to the present. He has not been dead thirty years; and yet it is not easily remembered that for the last ten years of his life he was currently accepted as the greatest living English poet. It is even more difficult to recall that from 1870 on to the end of the century his lyrical poetry was the purest written in England. Of all the great Victorian poets it was he who made the most direct attack upon the idols of his time, upon the sentimental conception of love, upon bourgeois democracy, upon the institutional expressions of the Christian religion. For his daring he has paid heavily: a sulphurous cloud still hangs over his name, his work has always had about it the aroma of heresy, revolt, and evil. He is the poet of passion, the poet of absolute liberty, the poet of evolution, the poet of tumultuous music. Passion is not now the staple of great literature that it was accounted ten years ago; absolute liberty is dismissed as a chimera, and those who believe in it may soon be obliged to follow Conrad's Garibaldino to the mythical republic of Costaguana; the emotional implications of evolution are no longer formative; tumultuous music seems vulgarly emphatic, like the nudes of Ingres and the landscapes of Turner. Swinburne is in danger of becoming a forgotten poet; and it is when a writer is in danger of being forgotten that his centenary should be seized upon as an occasion for evoking his achievement, turning it leisurely before our eyes and deciding whether or not literature will be served by quietly allowing him to recede in to a mere name in the an thologies along with Campbell and Rogers. There is still time enough, however, if Swinburne's achievement seems to justify it, for his place to be in greater company-with Byron, Keats, and Shelley.
Swinburne and the Poet-Laureateship 1892
Authors: Knaplund Paul
Published: March 2013

Lord Tennyson died early in the morning of October 6, 1892. His death had been expected for some time, and people interested in the laureateship had discussed possible candidates for the post. At such a discussion on July 8, 1891, H. H. Asquith expressed the opinion that the laureateship would be kept in suspension on Tennyson's death; Arthur Balfour said that Swinburne ought to have it; John Morley thought that the non-conformists would object to Swinburne, and Lord Bowen favoured the appointment of Dr. Bridges.
The Scholar and the Critic: An Essay in mediation
Authors: Warren Austin
Published: March 2013

Words survive many changes of connotation; and “scholarship” and “criticism” are by no means unambiguous. The former once betokened wide as well as exact erudition. Till the end of the seventeenth century, one could still say, “I take all knowledge for my province;” and Aristotle, Aquinas, and Bacon may serve as types of this polymath. The learned man of England's Golden Age, the Browne or Burton or Evelyn—even Ussher or Selden—boasted no rigorous specialization. He did not surrender his days to the mastery of a single theme or the exposition of a single dead author—“a life for a life;” but, like the wise man of Confucius' stipulation, he was ad omnia paratus.
Reviews
Authors: Michel Virgil , Davis Herbert , Bush Douglas , Brady
Published: March 2013

Etienne Gilson, The Spirit of Medical Philosophy, reviewed by Virgil Michel

F. L. Lucas, The Decline and Fall of the Romantic Ideal, reviewed by Herbet Davis

F. R. Leavis, Revaluation: Tradition and Development in English Poetry, reviewed by Herbert Davis

David Daiches, New Literary Values: Studies in Modern Literature, reviewed by Herbet Davis

P. L. Carver, ed., The Comedy of Acolastus Translated from the Latin of Fullonius by John Palsgrave, reviewed by Douglas Bush

Frederick L. Schuman, The Nazi Dictatorship, reviewed by A. Brady

Fritz Morstein Marx, Government in the Third Reich, reviewed by A. Brady

Michael T. Florinsky, Fascism and National Socialism: A Study of the Economic and Social Policies of the Totalitarian State, reviewed by A. Brady
Emerson as Diarist
Authors: Elliott
Published: March 2013

In the year 1928 a kind acquaintance connected with the Emerson family conducted me through the great man's house at Concord, Massachusetts. His library was the chief attraction. We lingered there for a long while, extracting from the shelves one book after another, at random, but carefully, reverently. I could easily imagine the sage himself thus engaged in a leisure hour. From my youth on I had studied every picture and every written description of him that I could come at; and whenever I chanced to meet older persons who had actually seen him, perhaps even talked with him, I tried their patience with cross-examining questions. Gradually my mind had acquired a vivid moving-picture of him. So that now he himself seemed to be present, stepping from bookcase to bookcase, pulling out volumes at random as I was doing—but not at all with my air of reverence. No; the face of the noble Shade contemplated these books with an air of genial tolerance. I could see his eye and finger running rapidly from page to page. He was “reading for lustres,” as he put it. Books were “for idle moments.” The “great soul that o'er him planned” did not set much store by books (as the New England idiom runs) .... But, I reflected, could that “great soul” be the Universal Soul itself, which is the source of all great books, and treasures them up to a life beyond life—Milton's Works, for instance, which appear on yonder shelf? Or was that “great soul” just Emerson's great soul, or was it just the soul of Emerson, or—what?
Poetry
Authors: Brown
Published: March 2013

Reviews of poetry published in Canada in 1936
Drama
Authors: Milne
Published: March 2013

Reviews of drama published in Canada in 1936.
Julie ou la Nouvelle Héloïse Today
Authors: Rosenberg Aubrey
Published: March 2013

There have been many accounts, in Rousseau's own day and since, of the enormous success enjoyed by La Nouvelle Hélo¨se, in France and elsewhere, in the latter half of the eighteenth century. Rousseau himself speaks in the Confessions (I, 545–8) of its initial enthusiastic reception, and in his correspondence we find numerous letters from people in all walks of life and from all social classes whose praise of Rousseau, following the publication of his novel, bordered on idolatry. Recently, Claude Labrosse has analysed, in great detail, the reception of Rousseau's novel on its publication in 1761 and the years immediately following.
Reviews
Authors: Pugh Anthony , Roazen Paul
Published: March 2013

Jean-Jacques Nattiez, Proust as Musician, reviewed by Anthony R. Pugh

C. Fred Alford, Melanie Klein and Critical Social Theory: An Account of Politics, Art, and Reason Based on Her Psychoanalytic Theory, reviewed by Paul Roazen
An Interview with Leslie A. Fiedler: Let's Revisit Postmodernism
Authors: Capozzi Rocco
Published: March 2013

RC: In the spring of 1968 I was one of the graduate students at the SUNY at Buffalo who was relatively surprised to hear from you that students should go home and watch 'soap operas' and other popular TV shows, in order to study the new modern 'myths' offered by the 'mass media' (needless to say many of your colleagues were also shocked). Can you revisit those days for us and, with hindsight, talk about both your overall expectations in proposing new approaches to looking at literature and at culture in general? LF: I have, from the start of my career as a published writer (I began relatively late in life, my first book not appearing until I was nearly forty), been trying to repair the cultural damage done by the rise of Modernism and the domination of High Culture by the academy: the splitting of the audience for song and story into hostile camps. I have been doing this in the classroom and from the lecture platform as well as in print—'boring from within,' as it were; which is to say, operating from inside the university community and the elitist critical establishment.