bluuebunny/crossref_metadata_2025 huggingface dataset:
Villains, Victims, or Makonde in the Making? Reading the Explorer Henry O'Neill and Listening to the Headman Lishehe
Authors: West Harry G.
Published: December 2005

Henry O'Neill's narrative of first encounter in 1882 with residents of the plateau south of the Rovuma (in Mozambique) constitutes the earliest contribution to the written record on the area. By his presence among and accounts of these people, O'Neill transformed regional villains into victims awaiting British stewardship. This article portrays those O'Neill met on the plateau as more complex historical subjects who brought to the encounter their own fears, aspirations, and strategic agendas. Whereas the writings of the Subaltern Studies Group provide the author with a useful point of departure,the article critiques Subaltern Studies' excessive focus on textual readings,turning instead to the accounts of contemporary descendants of history's silenced subjects to construct an alternative narrative.
The Horizontal Archipelago: The Quijos/Upper Napo Regional System
Authors: Uzendoski Michael A.
Published: December 2005

In the Quijos/Upper Napo region of the Western Amazonian frontier,long-distance exchange, markets, and verticality represent significant aspects of social organization that can be found in historical sources. It is argued that local and regional exchanges followed a social logic where human transactions such as marriage—not “commercial”goods—occupied the highest tier of value in the circulation process. These principles are explored through an analysis of ethnohistorical sources and data from fieldwork in contemporary Upper Napo communities. It is suggested that the lowland societies of Quijos/Upper Napo and the highland societies of Upper Napo were of a similar structural type, contrasting in principle with the more hierarchical social orders of the Central and Southern Andes.
Seneca Moieties and Hereditary Chieftainships: The Early-Nineteenth-Century Political Organization of an Iroquois Nation
Authors: Abler Thomas S.
Published: December 2005

Scholars investigating Iroquois political institutions have focused on the Confederacy Council (or League), largely ignoring structure at the national(or tribal) level. Data from the Seneca Nation in the 1830s and 1840s, before the replacement of chiefs by an elected council, allows analysis of nonconfederacy “chiefly statuses” relative to population size,clans, and moieties. Contrary to the consensus in the literature,nonconfederacy chiefly status was hereditary within clans. In addition, the principle that balance should be maintained between Seneca moieties led to chiefly statuses being divided equally between the moieties, despite considerable differences in their populations.
Capitalizing on Complicity: Cargo Cults and the Spirit of Modernity on Bali Island (West New Britain)
Authors: Lattas Andrew
Published: December 2005

Using the cargo cult movement of Dakoa on Bali Island (West New Britain),this article explores the relationship between history and the other forms of human time articulated in cult practices, beliefs, and myths of origins. This relationship often entails the collapsing of historical time into biographical time. It involves Dakoa's cult taking up Western notions of kingship and the Christian figures of God, Jesus, and Moses—all of whom are merged with the heroic structure of traditional myths. New mythological figures have emerged who encompass multiple identities and who resurface at key historical moments so as to give a mythicmagical quality to the transformative processes of government, mission, and commerce. Many of the cult's new important spirit beings are extensions of the cult leader Dakoa, whose personhood embodies a history and provides a model for a new, pacified Melanesian self capable of reincorporating the globalizing processes of modernity.
Queequeg's Tomahawk: A Cultural Biography, 1750-1900
Authors: Shannon Timothy J.
Published: December 2005

Since the colonial era, the tomahawk has served as a symbol of Indian savagery in American arts and literature. The pipe tomahawk, however, tells a different story. From its backcountry origins as a trade good to its customization as a diplomatic device, this object facilitated European-Indian exchange, giving tangible form to spoken metaphors for war, peace, and alliance. The production, distribution, and use of the pipe tomahawk also illustrated contrasting Indian and European notions of value and utility in material objects, exposing the limits of such goods in promoting cross-cultural mediation and understanding.
Matchcoats: Cultural Conservatism and Change in One Aspect of Native American Clothing
Authors: Becker Marshall Joseph
Published: December 2005

The English term matchcoat derives from an Algonquian root word relating to clothing or dress in general. During the seventeenth centurymatchcoat came to refer to European-made units of woolen cloth,generally about two meters (a “fathom”) long, that were traded to natives who wore them as loosely wrapped cloaks. Some English-speaking scholars have erroneously emphasized the word match, inferring that“matchcoats” were garments that were pieced together from small units, or matched in a way that resembled techniques used by natives to make cloaks from pelts. The common “blanket” worn by the stereotypical“Indian” of that period also was called a matchcoat. Native-made garments, often described in the early literature, were rapidly replaced by these pieces of trade cloth. The term matchcoat was being applied to“made up” or off-the-rack tailored sleeved coats by the 1680s. The use of increasingly elaborate trade-cloth coats reveals progressive adoption of European garments among all of the native peoples of the Northeast.
Knut Wicksell's “Bank Rate of Interest as the Regulator of Prices”
Authors: Wicksell K.
Published: December 2005

Edited and translated by Mauro Boianovsky and Hans-Michael Trautwein
Overconsumption and Forced Saving in the Mises-Hayek Theory of the Business Cycle
Authors: Garrison Roger W.
Published: December 2005

I wish to thank John Cochran, Lawrence White, Ivo Sarjanovic, Lane Boyte,Thomas McQuade, Sven Thommesen, and two anonymous referees for their helpful comments.
From Pain Cost to Opportunity Cost: The Eclipse of the Quality of Work as a Factor in Economic Theory
Authors: Spencer David A.
Published: December 2005

I would like to thank two anonymous referees for useful comments on an earlier draft of this article. I am also very grateful for the comments of Andrew Brown, John King, Malcolm Sawyer, Gary Slater, Ian Steedman, and Michael White. Remaining errors are mine alone.
Law/Form/History: Shakespeare's Verdict in All Is True
Authors: Kezar Dennis
Published: December 2005

Dennis Kezar is assistant professor of English at Vanderbilt University. His first book, Guilty Creatures: Renaissance Poetry and the Ethics of Authorship, was published in 2001. His essay “Shakespeare's Guilt Trip in Henry V ” appears in MLQ 61:3 (September 2000). He is editing a collection of essays on early modern theater and the law and working on a book-length study of Renaissance addictions.
The Mind a Department Store: Reconfiguring Space in the Gilded Age
Authors: McDonald Gail
Published: December 2005

Gail McDonald is assistant professor of English at the University of North Carolina at Greensboro. She is author of Learning to Be Modern:Pound, Eliot, and the American University (1993). Her current project isCollaborative Sin: American Naturalism and the Languages of Responsibility.
The Scots Songs of Allan Ramsay: “Lyrick” Transformation,popular Culture, and the Boundaries of the Scottish Enlightenment
Authors: Newman Steve
Published: December 2005

Steve Newman is assistant professor of English at Temple University. This essay is part of a book in progress on the role of ballad collection in the formation and institution of the English literary canon during the long eighteenth century.
Republicanism and Leisure in Marianne Moore's Depression
Authors: Carson Luke
Published: December 2005

Luke Carson is associate professor of English at the University of Victoria, British Columbia. He is author of Consumption and Depression in Gertrude Stein, Louis Zukofsky, and Ezra Pound (1999).
“Overpowering Vitality”: Nostalgia and Men of Sensibility in the Fiction of Wilkie Collins
Authors: Wagner Tamara S.
Published: December 2005

Tamara S. Wagner is a doctoral student at the University of Cambridge. She has published articles on nineteenth-century literature as well as on postcolonial fiction and is writing a book on nostalgia in the English novel.
Intimacy and Affliction: DuBois, Race, and Psychoanalysis
Authors: Coviello Peter
Published: December 2005

Peter Coviello is assistant professor of English at Bowdoin College. His essays have appeared in American Literature, Early American Literature,Studies in American Fiction, and elsewhere. His book Intimacy in America: Dreams of Affiliation in Antebellum Literature is forthcoming.
Trostgründe: Cultural Nationalism and Historical Legitimation in Nineteenth-Century German Literary Histories
Authors: Seeba Hinrich C.
Published: December 2005

Hinrich C. Seeba is professor of German at the University of California,Berkeley. His most recent work appeared in A Companion to the Works of Hugo von Hofmannsthal, edited by Thomas A. Kovach (2002);Beiträge zur Kleist-Forschung (2002); and German Literature,Jewish Critics: The Brandeis Symposium, edited by Stephen D. Dowden and Meike G. Werner (2002).
Functionalizing Cultural Memory: Foundational British Literary History and the Construction of National Identity
Authors: Sichert Margit
Published: December 2005

Margit Sichert is a member of a research team at Justus Liebig University in Gießen, Germany, that investigates the construction of the canon of “English literature” through the writing of literary histories. Her main areas of research are British literary history and American drama.
Cultivating a Common Literary Heritage: British Histories of English Literature since World War II
Authors: Grabes Herbert
Published: December 2005

Herbert Grabes is professor of English at Justus Liebig University in Gießen, Germany. He is author of Das amerikanische Drama des 20. Jahrhunderts (1998) and editor of Writing the Early Modern English Nation: The Transformation of National Identity in Sixteenth- and Seventeenth-Century England (2001) and Literary History/Cultural History: Force-Fields and Tensions (2001). His main areas of research are seventeenth-century English literature, modern American literature, and literary theory.
Royal Jokes and Sovereign Mystery in Castiglione and Marguerite de Navarre
Authors: James Heather
Published: December 2005

Heather James is associate professor of English and comparative literature at the University of Southern California. She is author ofShakespeare's Troy: Drama, Politics, and the Translation of Empire(1997), and her most recent essays and reviews have appeared in theShakespeare Quarterly, English Literary History, and the Renaissance Quarterly.
The Hard Work of Doing Nothing: Richard Savage's Parallel Lives
Authors: Gladfelder Hal
Published: December 2005

Hal Gladfelder is assistant professor of English at the University of Rochester and author of Criminality and Narrative in Eighteenth-Century England: Beyond the Law (2001).
In Time, and Out: Women's Poetry and Literary History
Authors: Leighton Angela
Published: December 2005

Angela Leighton is professor of English at the University of Hull. She is author of, among other books, Shelley and the Sublime: An Interpretation of the Major Poems (1984), Elizabeth Barrett Browning (1986),and Victorian Women Poets: Writing against the Heart (1992). She is writing a book on form and the aesthetic in nineteenthand twentieth-century poetry.
The Time of Commitment: Reading “Sapho 1900” Reading Sappho
Authors: DeJean Joan
Published: December 2005

Joan DeJean is Trustee Professor of Romance Languages at the University of Pennsylvania. She is author of Fictions of Sappho, 1546-1937(1989) and, most recently, The Reinvention of Obscenity: Sex, Lies, and Tabloids in Early Modern France (2002).
On Being in Time with Feminism
Authors: Wiegman Robyn
Published: December 2005

Robyn Wiegman is Margaret Taylor Smith Director of Women's Studies and associate professor of women's studies and literature at Duke University. She is author of American Anatomies: Theorizing Race and Gender (1995) and has edited five collections: Who Can Speak? Authority and Critical Identity,with Judith Roof (1995); Feminism beside Itself, with Diane Elam (1995); AIDS and the National Body, by Thomas E. Yingling (1997); Women's Studies on Its Own: A Next Wave Reader in Institutional Change (2002); and The Futures of American Studies, with Donald E. Pease (2002).
Queer Nation, Female Nation: Marguerite de Navarre, Incest, and the State in Early Modern France
Authors: Freccero Carla
Published: December 2005

Carla Freccero is chair of the Department of Literature at the University of California,Santa Cruz. Her books include Premodern Sexualities (1996), coedited with Louise Fradenburg, and Popular Culture: An Introduction (1999). She is working on a book about early modern French colonial encounters and has recently completed a book titled Prolepses:Queer/Early/Modern.
The First Women (Psycho)analysts; or, The Friends of Feminist History
Authors: Mandell Laura
Published: December 2005

Laura Mandell is associate professor of English and women's studies affiliate at Miami University. Her book, Misogynous Economies: The Business of Literature in Eighteenth-Century Britain (1999), analyzes various instances of misogynous representations of women, showing how they are deployed in a century-long process of instilling capitalist desires, extending from their use as a way of shoring up the literary as a space of free play by Dryden, Swift, and Pope to their use as a way of reifying that play in the process of literary canonization during the Romantic period.
The Postcolonial Laura
Authors: Dagenais John
Published: December 2005

John Dagenais is professor of Spanish at the University of California, Los Angeles. His publications include The Ethics of Reading in Manuscript Culture: Glossing the “Libro de buen amor” (1994)and “Decolonizing the Middle Ages,” a special issue of theJournal of Medieval and Early Modern Studies, coedited with Margaret R. Greer (2000). His current projects include a translation of the fifteenth-century Spill by Jame Roig and a virtual-reality reconstruction of the Romanesque cathedral of Santiago de Compostela.
Colonial Becomes Postcolonial
Authors: Greene Roland
Published: December 2005

Roland Greene is professor of English and comparative literature at Stanford University. His most recent book is Unrequited Conquests: Love and Empire in the Colonial Americas (1999). A polemical book titledAgainst Close Reading is in preparation.
The Anticolonial Past
Authors: Pratt Mary Louise
Published: December 2005

Mary Louise Pratt is Silver Professor and professor of Spanish and Portuguese and of comparative literature at New York University, where she is also affiliated with the Hemispheric Institute for Performance and Politics and the Center for Latin American and Caribbean Studies. Her publications include Toward a Speech Act Theory of Literary Discourse (1977) andImperial Eyes: Travel Writing and Transculturation (1992). She was president of the Modern Language Association in 2003.
The Laura Riding Question: Modernism, Poetry, and Truth
Authors: Ophir Ella Zohar
Published: December 2005

Ella Zohar Ophir is lecturer at the University of Toronto. Forthcoming essays include a study of the fictions of Laura Riding and Wyndham Lewis and an inquiry into modernist treatments of everyday life.
Fielding's Fallen Oracles: Print Culture and the Elusiveness of Common Sense
Authors: McGrane Laura
Published: December 2005

Laura McGrane is assistant professor of English and American literature at Haverford College. She is editor, with Bruce Thompson and Ryan Johnson, of Critical History: The Career of Ian Watt (2000) in the Stanford Humanities Review series and is at work on a book titled Hollowed Voices: Reformulations of the Classical Oracle in Eighteenth-Century British Print Culture.
The Faking of the Americans: Passing, Trauma, and National Identity in Philip Roth's Human Stain
Authors: Maslan Mark
Published: December 2005

Mark Maslan teaches English at the University of California, Santa Barbara. He is author of Whitman Possessed: Poetry, Sexuality, and Popular Authority (2001). He is currently writing a book tentatively titledFalse Lives: Biographical Fraud and Contemporary Fiction.
Doing Him into the Eye: Samuel Beckett's Rimbaud
Authors: Love Damian
Published: December 2005

Damian Love recently completed a DPhil on Samuel Beckett at Saint Anne's College, Oxford. He has also published articles on Old and Middle English literature.
Fama/Chain of Muses: Two Classical Problems of Literary Studies with“ the Media”
Authors: Stanitzek Georg
Published: December 2005

Translated by Peter Krapp
From Philanthropy to Humanitarianism: Remarks and an Interview
Authors: Brauman Rony
Published: December 2005

Translated from the French by Sarah Clift
Three Poems
Authors: Morejón Nancy
Published: December 2005

Translated by Dawn Duke
Four Poems
Authors: Pérez Omar
Published: December 2005

Translated by Kristin Dykstra
Two Prose Poems
Authors: Rodríguez Reina María
Published: December 2005

Translated by Kristin Dykstra and Nancy Gates Madsen
The Shock of Arrival: Poetry from the Nazi Camps at the End of the Century
Authors: Nader Andrés J.
Published: December 2005

This article considers the history of publication in Germany of poems from the National Socialist concentration camps. It also traces an international shift in attitude toward these poems, from neglect or suppression in the decades after World War II to a heightened interest and the issuance of numerous anthologies in the 1990s. It then endeavors to provide psychoanalytically informed readings of a number of these poems to illustrate the range of issues raised by individual works. The form of the poems seems to function as the basis for an articulation of the poets' traumatic experience,allowing the authors to create in or through the poem a “resonating other,” or an interlocutor who plays an essential role in the mechanisms that safeguard psychic identity and health. In terms of aesthetic ideology,these poems show that poetry was not only possible in the camps but also perhaps “useful” to some inmates. They demonstrate the enduring power of old forms in critical situations and suggest that classical meter,conventional rhythm, and rhyme provided a needed sense of order and stability. Such uses of conventional poetic forms and traditional versification present a sharp contrast to the experimentation, ellipsis, and fragmentary style critics have called for as the logical consequence of the Shoah conceived as the breakdown of civilization.
Bakhtin on Poetry
Authors: Eskin Michael
Published: December 2005

Bakhtin's endorsement of literary prose—especially Dostoevsky's—on the grounds of its polyphony and his concomitant critique of poetry on the grounds of its allegedly monologic character have become commonplace in Bakhtin criticism. In this article, I reexamine this view of the respective significance of poetry and prose in Bakhtin's oeuvre. In particular, I argue that far from being relegated to the realm of discursive and, by extension, sociopolitical monologicity, poetry may plausibly be construed as the dialogically and sociopolitically exemplary mode of discourse in Bakhtin's writings.
Telling in the Plural: From Grammar to Ideology
Authors: Margolin Uri
Published: December 2005

This article aims to provide a definition, description, and typology of collective narrative agents and of collective narratives. A collective narrative agent occurs in a given narrative if three conditions are satisfied:(a) the argument position in numerous narrative propositions is occupied by an expression designating a group of some kind; (b) the predicate position in these propositions is occupied by predicates that designate the group's holistic attributes or collective actions; (c) the group as such fulfills a range of thematic roles in the narrated sequence. A narrative is a collective narrative if a collective narrative agent occupies the protagonist role. The difference between standard and collective narratives resides therefore in the reversal of the usual proportion between individual and collective agents. Not every collection of individuals (e.g., Zola's crowds) qualifies as a collective agent. To qualify, the collection must act as a plural subject or we-group, capable of forming shared group intentions and acting on them jointly. A different type of collective agent is a community: a group with a shared sense of identity. At the extreme end stands the group as a corporate entity, a totally impersonal network of positions and roles that creates the impression of an independent entity with a will of its own.

With respect to individual group members, the narrative adopts a collective perspective on them. The individual is accordingly presented as part of a collectivity or a social self, its actions those of a role bearer within a group, and the relations be-tween any two individuals defined via a plural subject category. With respect to the group as a collective narrative agent,the portrayal of its physical, verbal, and mental activities oscillates between two poles: description in group-as-a-whole terms and in individuals-as-group-members terms. Both individual and collective levels exist concurrently and are irreducible to each other, so that an unresolved tension between the two is a basic feature of collective narration. The tension increases as one moves from the representation of physical action to that of speech, where the employment of direct discourse features for the speech of many is problematic. The greatest difficulty is encountered on the level of mental activity or experientiality, because exact inner verbalization varies from one group member to another. The article further discusses collective narrators, narratees, and the appropriation of collective narratives by actual world individuals and groups, using the Passover Haggadah as a primary example.
Interpretation: The Story Does Have an Ending
Authors: Schmidt Siegfried J.
Published: December 2005

The academic debate on the interpretation of literary texts has always suffered from the semantic ambiguity of key concepts (literature, meaning,interpretation, literary study, etc.). To get out of this dead end, literary scholars have to step back from their daily routine from time to time to consider what kind of activity they are actually engaged in, since nothing in academia is natural or self-evident; instead, all is contingent. That is,scholars are not talking about literary texts as givens or data; they are talking about problems they have with what they deem literary items. If literary scholars aim at a scientific solution for their respective problems,they have to meet the usual standards of science; that is, they have to solve explicitly spelled-out problems via explicit problem-solving strategies or methods. This holds equally true for all problems subsumed under the title“interpretation.” The point is not can interpretation be reasonable, possible, or neglectable; rather, can literary scholars perform the operation called interpretation in terms of theory-guided operationalized productions of experiential knowledge which can be stabilized in respective scholarly discourses via communicative connectability and intersubjective inspection.
Referential Reflections around a Medallion: ReciprocalArt/Life Embeddings in Chekhov'sThe Seagull
Authors: Golomb Harai
Published: December 2005

The theoretical and text-analytical perspectives of this article are inseparably linked. In Act 3 of Chekhov's The Seagull, the young Nina gives the famous writer Trigorin, with whom she is falling in love, a medallion with inscribed page-and-line reference to a sentence from one of his novels: “If you should ever need my life, then come and take it.”In terms of her relationship with Trigorin, Nina mixes the roles of addresser and addressee, confessing her love for him through his own published words. In terms of Chekhov's text, this scene is a crucial element in a play designed inter alia to explore interactions between art and reality. Starting with detailed textual analyses of the engraved sentence itself and the scene in which it appears, this article draws ever-widening circles around them,examining characterizations; major features of Chekhov's poetics; literary reference and fact/fiction interactions as a theoretical problem in literary studies (with Benjamin Harshav's theory as a point of departure); the“legitimacy” of using biographical material in the analysis of fictional works; literary allusion; passivity and activity in art and reality;and the reciprocal interrelationships between art and reality, ranging from mirroring to interpenetration. The engraved sentence, a well-known quote from an earlier Chekhov story, had been first used by a woman who confessed her love for him through an inscribed medallion. Chekhov used the same object as a prop in the premiere of The Seagull. The quoted sentence is also strongly influenced by a sentence from Dostoyevsky's Crime and Punishment. Hardly mentioned in the literature, this latter fact further demonstrates the potentially endless chain of art/life embeddings, which in this case begins with Dostoyevsky and ends, potentially temporarily for the present reader, with the act of reading the present study.
Metrical Hybridization: Prosodic Ambiguities As a Form of Social Dialogue
Authors: Shemtov Vered
Published: December 2005

At the core of this study is the assumption that the sound of discourse transfers the text from its silent fictional existence to an independent entity that refers, through its linguistic dialect, to a social context outside the text. This assumption makes it possible to move beyond defining prosodic forms merely according to the number of syllables or feet in a line toward an investigation of larger units and meta-constructions of prosodic elements where form and ideological content are inseparable. Following Mikhail Bakhtin, the article defines the phenomenon of metrical hybridization as the simultaneous existence of several voices represented by a mixture of multiple prosodic structures, each referring to a different set of poetic and ideological conventions. Considering examples from Emily Dickinson and Guillaume Apollinaire, I develop a method of analyzing the dialogical relations between the social voices in the hybrid construction.
A Staggered Orientalism: The Cape-to-Cairo Imaginary
Authors: Merrington Peter
Published: December 2005

Cecil Rhodes's vision of an all-British “Cape-to-Cairo” road,rail, and telegraph route is addressed by a reconstruction of the cultural matrix that appears to have held this concept before the public eye for nearly five decades. This cultural matrix constitutes a kind of colonial and imperial imaginary, which generated a particular founding myth for the colonial state of the Union of South Africa in 1910 and which also lent to foreign visitors,tourists, and immigrants a readily understood interpretation of South Africa and the Cape as “Mediterranean” rather than as“African.”

This essay approaches the material from four broad emphases: first, the neo-Hegelian tropology of pre–World War I Oxford idealist philosophy,which celebrates the “dawning of consciousness” in the subcontinent with the advent of union in 1910 and which the essay relates to Hegel's views on Africa and Egypt; second, the ubiq-uitous influence of Freemasonry in Britain and the British Empire at the turn of the nineteenth century, in particular Freemasonry's concern with Egyptology; third, the varied impulses behind the concept of the Cape as Mediterranean, from climate to architecture, tourism, and ethnography; and fourth, the mutually supporting roles of journalism, travel, and performance in rehearsing a national act of identity formation.

The Cape-to-Cairo idea coincides with the historical moment of the forging of union. It also coincides with a period of transition in Western culture from the late Victorian age to modernism. This essay suggests that these broad issues of national identity formation and of simultaneous transition between two different cultural milieus, which are evident as much in the dominant nations of Europe at the time as they are in the making of South Africa, may be tracked in a reconstruction of the complex of cultural epiphenomena that surrounded and propagated for several decades the fantasy of the Cape-to-Cairo axis.
Black Hamlet: Psychoanalysis on Trial in South Africa
Authors: Crewe Jonathan
Published: December 2005

This article examines Black Hamlet, written in 1937 by the pioneering South African psychoanalyst Wulf Sachs. Sachs's book stages a cultural exchange in the guise of a professional dialogue between the author and a Manyika healer-diviner given the pseudonym John Chavafambira in the book. Sachs reports the dialogue extensively and stages it artfully, yet the superiority of Western medical-scientific and psychoanalytic practices to traditional African healing remains his governing premise throughout the book. When Sachs identifies John as the “black Hamlet,” he accordingly proclaims the universal applicability of psychoanalysis, grounded in the Oedipus Complex. This paper argues that Sachs's attempt to inscribe the South African native subject within the global imaginary of 1930s psychoanalysis proves subject both to reversals and transferential complications that render the entire enterprise highly ironic; the racialized unconscious ultimately on display is that of the analyst rather than his subject. Rather than assimilating the native subject then, psychoanalysis finds itself exposed in a setting conceived as alien. As a complex cultural text, Black Hamletactively lends itself to the postcolonial critique of universalizing Western psychoanalysis.
Tradurre e Tradire: The Treason and Translation of Breyten Breytenbach
Authors: Lewis Simon
Published: December 2005

This essay argues that Breyten Breytenbach's use of the English language to write his prison memoir True Confessions of an Albino Terrorist (1994[1984]) represented a kind of linguistic treason consistent with Breytenbach's legally defined treason against the apartheid state. While Breytenbach himself has been dismissive of the cultural productivity of his work, especially of the youthful rebelliousness of the work associated with the so-called Sestiger movement, the treason/translation of Confessions blazes a trail for a new politics of Afrikaans by insisting on the language's genuinely local,thoroughly hybrid nature. Well in advance of the birth of the new South Africa in 1994, Breytenbach undermined racialist notions of Afrikaans (whether as some sort of Herderian Sprachgeist of the white Afrikaner Volk or as the language of the white oppressor) and offered ways of conceiving Afrikaans as a defiantly impure language of local and national dissent (neither black nor white, neither traditionally African nor Europeanly modern) pitted against global and international systems of an anglophone world order.
A Concert of Paintings: “Musical Ekphrasis” in the Twentieth Century
Authors: Bruhn Siglind
Published: December 2005

Not only poets may respond to a work of visual art with a creative act in their own medium, transposing the style and structure, the message and metaphors from the visual to the verbal. Composers, more and more frequently,are also exploring this interartistic mode of transfer. Although the musical medium is reputedly abstract, composers, just like poets, can respond in many different ways to a visual representation. They may transpose aspects of both structure and content; they may supplement, interpret, respond with associations, problematize, or play with some of the suggestive elements of the original image. This article begins with some methodological considerations regarding the musical equivalent of what literary scholars know as ekphrasis (see Spitzer 1962 [1955]; Hagstrum 1958; Krieger 1967,1992; Lund 1992 [1982]; Clüver 1989, 1997; Scott 1991, 1994; Mitchell 1992, 1994; Heffernan 1993; Yacobi 1995, 1998). Central questions concern the definition of musical ekphrasis in relation to “program music” and music's ability to narrate or portray extramusical realities, that is, to relate to them by way of mimesis or reference. In a second section I attempt to position musical ekphrasis within the grid of interartistic interactions laid out by Hans Lund and address some central issues of terminology in research onmusical ekphrasis. Next I draw on three groups of symphonic compositions and two hybrid works (one pairing music with dance, the other pairing music with a biblical text), all composed in response to works of visual art, in order to attempt an assessment of the possible scope (and limitations) of the undertaking to reflect images in tones. To concretize the idea of correspondence between pictorial and musical configurations, I conclude with a comparative case study. My overall aim in this essay is thus threefold: to survey the range of artistic expression available for such transmedializations, to examine the degree to which the composers' creative responses draw on a body of shared cultural conventions, and to develop some first steps toward a methodology of “musical ekphrasis.”
The Lyric, History, and the Avant-Garde: Theorizing Paul Celan
Authors: Wolosky Shira
Published: December 2005

Discussions of lyric tend to bifurcate into, on the one hand, theoretical reflection, in which lyric is defined as a self-referring language artifact,and on the other hand, historical reference, which tends to ignore formal considerations. This article argues against such an opposition between theory and history and argues for a lyric theory that sees poetic language as representing historical experience within the very formal elements and self-consciousness of language that are lyric poetry's distinctive features. Paul Celan offers a paradigmatic illustration of such synthesis.
Shelley and the Poetics of Political Indirection
Authors: Franta Andrew
Published: December 2005

Recent work on Shelley has focused on the relationship between poetry and politics, attempting to explain poetry's role in effecting political change. This essay argues that such an approach—which asks how Shelley's political opinions are manifested in his poems—misses the point of Shelley's commitment to political poetry. Against the critical tendency to oppose (or attempt to reconcile) poetic form and political content, I suggest that the interest of Shelley's political poetry has less to do with its intervention in contemporary politics than its redefinition of the formal conditions of political change. In The Mask of Anarchy, Shelley's poem on the Peterloo Massacre of 1819, the indirection of poetic address is presented as a means by which to circumvent the impasse of contemporary political opposition. This conception of poetic indirection—which extends the time frame of poetry to include its reception by future audiences—in turn suggests that images of transcendence in Adonais,A Defence of Poetry, and the “Ode to the West Wind” in fact ground poetic authority in the material conditions of poetic production and reception.
Why Is Literature: A Coevolutionary Perspective on Imaginative Worldmaking
Authors: Hernadi Paul
Published: December 2005

Since prehistoric times literature has been serving two complementary functions: to expand the cognitive, emotive, and volitional horizons of human awareness and to integrate our beliefs, feelings, and desires within the fluid mentality required for survival in the complex social environments of human organisms. Frequent participation in protoliterary transactions may have made some early humans more astute planners, more sensitive mind readers, and more reliable cooperators than their conspecific rivals, thereby increasing their chances to become the ancestors of contemporary men and women. Such a view of literature's role in the coevolution of human nature and cultures helps explain its worldwide presence and perhaps even some of its shared characteristics across cultural divides. Three features respectively associated with the cognitive, emotive, and volitional dimensions of mental functioning appear to be universal and will be discussed in detail: (a) the verbalizing of semantic and episodic memory and of ego-centric and participatory orientation through thematic, narrative, lyric, and dramatic modes of discourse; (b) the polarization of literary entertainment into thrilling and gratifying types, inclining audiences toward recognizable subvarieties of either crying or laughing; and (c) the motivating impact of fictive stories about imagined characters on the will of actual people to change themselves and their worlds.
Some Cognitive Foundations of “Cultural Programs”
Authors: Tsur Reuven
Published: December 2005

This article explores issues of versification as an epitome of cultural programs. It is devoted to the question of how cognitive processes shape and constrain cultural and literary forms. It assumes that the generation of culture is governed by adaptation devices exploited for cultural and aesthetic ends. The argument is propounded in four stages. The first stage deals with an issue of poetic prosody, foregrounding the conflict between the influence-hunting and the cognitive-constraint approaches to the same problem. The second stage adduces an instance of how, “in the process of repeated social transmission, cultural programs come to take forms which have a good fit to the natural capacities of the human brain” (D'Andrade 1980). The third stage treats the versification systems as cultural artifacts and attempts to account for the differences among them. The fourth stage examines what appears as a counterexample to one of the central generalizations in this article. The concluding section not only summarizes the article's argument but also widens its scope, briefly alluding to some further research, in which similar cognitive assumptions are applied to an instance of figurative language, the metaphysical conceit.
Adjusting the Frame: Comments on Cognitivism and Literature
Authors: Adler Hans , Gross Sabine
Published: December 2005

This article focuses on the role of cognitivism in literary studies and,conversely, the role of literature in cognitivist approaches. Taking as its point of departure the preceding issue of Poetics Today (vol. 23, no. 1), a special issue on cognitive approaches to literature, this commentary addresses a number of issues related to, but also exceeding, the field of cognitive literary studies. These issues include the interrelation of the terms cognitive and literary and of human history versus evolution; the rhetoric and dynamics of paradigm change; the history of cognitivist inquiry, including different models of the study of the human mind; practical and fundamental questions about interdisciplinarity; and differences of approach in the sciences and the humanities.
The Power of Double Coding to Represent New Forms of Representation: The Truman Show, Dorian Gray, “Blow-Up,” and Whistler's Caprice in Purple and Gold
Authors: Kafalenos Emma
Published: December 2005

Doubly coded artworks—artworks that are embedded in other artworks— sometimes represent an art form (a medium, a genre) that at the time they are made cannot be represented except through double coding. The phenomenon is rare and occurs only when several conditions are met. First, in the doubly coded (embedded) section, the subordination of one voice to the other voice is so extreme that the section can be likened to a duet sung by one voice. This hierarchical relation in which the materiality of the representation is fully controlled by the embedding voice permits a filmmaker or visual artist or fiction writer to speak or embody a world-making voice other than her or his own. The final requirement for double coding to enable representation of a new art form is the imaginative leap of a perceiver, who interprets the artwork in the fictional world (the artwork made by the fictional world-making voice) as an example of a new art form potentially capable of independent existence in our world.
Robert Hunter's Oral Poetry: Mind, Metaphor, and Community
Authors: Wood Brent
Published: December 2005

This essay takes an oral poetics approach to the analysis of the song lyrics of Robert Hunter as performed by the Grateful Dead from the late 1960s to the early 1990s. Hunter's work is treated as an exemplary case for the study of the use of oral poetry within the contemporary electronic communication milieu. The reception of the poetry by the specific listening audience is considered, with special attention given to the functioning of metaphor in relation to states of mind brought about by the use of psychedelics, such as LSD. The poetry itself is situated as both contribution to and commentary on American folk poetry and its accompanying mythology. Reference points include Ruth Finnegan on oral poetics, George Lakoff on the contemporary theory of metaphor, and Aldous Huxley on the nature of altered states of consciousness.
Lion on Display: Culture, Nature, and Totality in a Circus Performance
Authors: Carmeli Yoram S.
Published: December 2005

This article deals with exclusion and the construction of periphery as modes of ritualizing and binding together a dominant social order. Under scrutiny is the peripheral British traveling circus and the way its traveling and performance define the margins of the modern fragmented order,particularly vis-à-vis the crisis of the premodern Culture/Nature paradigm. A lion act presents the Culture/Nature opposition, that is, human trainer, props, routines versus animals, in the context of circus traveling(fieldwork carried out in 1975-79).The circus display of both animals and humans as exemplifications of their own kind erases their“realness,” turning them into images in the public's perception. However, a totalization of the performance and of the display of circus traveling reifies the animal and human images and the circus image, with the effect of placing them out of social time and relations. On the margin of the fragmented modern order, the reified traveling circus thus embodies transcendence of culture/nature categories and implies its own ontological apartness. For its nostalgic spectators, it thereby illusorily resurrects a totality of order—from which the circus itself is apart.
Polysystem Theory Revisited: A New Comparative Introduction
Authors: Codde Philippe
Published: December 2005

In recent years, Itamar Even-Zohar's Polysystem Theory seems to have lost much of its appeal for students of comparative literature, while more recent forms of systemic approaches to literature—most conspicuously, Pierre Bourdieu's praxiology and Siegfried Schmidt's and Niklas Luhmann's Constructivism—are becoming increasingly popular. To some extent, this is due to the misconception that the more recent forms of system theory have superseded their polysystemic predecessor. This is a misconception for two reasons. On the one hand, Polysystem Theory offers students of literature a framework for a wide-ranging and still topical study of a variety of cultural phenomena (that are not restricted to literature); on the other hand, the more recent system-theoretical approaches simply cannot replace Polysystem Theory,because they are interested in altogether different aspects of the literary system. This critical introduction aspires to rekindle interest in Polysystem Theory and briefly illustrates its application from the author's current research.
Narratology and Interpretation: A Rejoinder to David Darby
Authors: Kindt Tom , Müller Hans-Harald
Published: December 2005

This contribution discusses the two programmatic assumptions made by David Darby in his outline of the history of narratology orErzähltheorie (narrative theory).The first is that narratology ought to be remodeled into a contextualist theory of interpretation; the second is that such a “contextualist narratology” necessarily requires the category of the “implied author.” By contrast, we argue that the “contextualists” can state convincing reasons neither for a change of narratology's aims nor for a necessary widening of its object domain. Finally, we demonstrate that Darby's thoughts on Wayne C. Booth's concept of the “implied author” are based on the mixing of two definitions of this concept that are in fact mutually exclusive.
Gadamer and the Mechanics of Culture
Authors: Brooks Douglas A.
Published: December 2005

The guest editors of this special issue, James A. Knapp and Jeffrey Pence,contend that the current preoccupation with the materiality of things has usually generated a polarization between “history” and“theory” in literary criticism, whereby the work of scholars who continue to align themselves with the critical motives and methods of theory is dismissed for being un- or trans-historical. The primary goal of this essay is to suggest a middle way between these polarities, especially concerning recent scholarly interest in the history of the book. Specifically, this essay argues that Hans-Georg Gadamer's important contribution to the field of hermeneutics not only anticipates recent developments in textual scholarship,but also has much to offer scholars who are attempting to write the history of the material book. In such light, the so-called “turn toward history” commented upon at length in this issue does not require a concomitant turning away from theory. The essay begins with an examination of some important links between Gadamer's most significant assertions about the hermeneutic consciousness and comparably significant assertions about the study of the material book. Subsequently, this comparative analysis is applied to the discussion of a specific material book, the 1623 First Folio of Shakespeare. From both of these contexts (general and specific), we can begin to see the necessity of a mutual engagement between“history” and “theory.”
The Allure of the Archive
Authors: Freshwater Helen
Published: December 2005

This article problematizes cultural studies' recent return to the“thing,” assessing the archive's position in research work. I draw on my experience of consultation of the surviving records of the Lord Chamberlain's theater censorship office in order to demonstrate that the archive's seductive charms often serve to conceal its flaws. This archive's undeniable allure obscures the contingency of its construction, its destructive powers, and the way in which its contents remain vulnerable to interpretative violence. These observations are measured against the metaphorical and theoretical frameworks which continue to condition our approach to the archive, coming to rest at the place where the procedures and concerns of psychoanalysis overlap with those of archaeology. I conclude that any study of this archive requires both a theoretical redefinition of the concept of the archive and the introduction of a rigorous ethical framework which foregrounds the interpretative investment of the researcher.
Deferral of the Author: Impossible Witness and the Yasusada Poems
Authors: Freind Bill
Published: December 2005

This essay argues that the work of Araki Yasusada, an alleged Hiroshima survivor and poet who was later discovered to be an invention, offers an important example of the potential of heteronyms to satisfy the reader's desire for an author figure behind the text while simultaneously highlighting the fictive status of this figure. Doubled Flowering: From the Notebooks of Araki Yasusada does this by first building up the heteronym of Yasusada, then systematically effacing him as he himself adopts a variety of other voices and personae. The Yasusada poems also serve to expand the range of what has been called the poetry of witness or trauma literature. Critics of those subgenres have suggested that literature need not be historically accurate, nor even refer directly to those traumatic events. Yasusada takes that a step further, offering an example of how heteronyms can be used to offer testimony about events that the actual author has not witnessed.