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iMitteraria Tartu Ülikooli maailmakirjanduse õppetooli ja Eesti Võrdleva Kirjandusteaduse Assotsiatsiooni rahvusvaheline aastakiri. Annual international refereed edition of the Chair of Comparative Literature of Tartu University and the Estonian Association o f Comparative Literature. Edition annuelle internationale de la Chaire de Litterature Comparee de I'Universite de Tartu et de l'Association Estonienne de Litterature Comparee. Internationales Jahrbuch des Lehrstuhls fü r Weltliteratur an der Universität Tartu und der Assoziation der Vergleichenden Literaturwissenschaft in Estland. Ediciön anual international de la Cätedra de Literatura Comparada de la Universidad de Tartu у de la Asociaciön Estonia de Literatura Comparada. Toimetuskolleegium/Editorial Board: Aadress/Address: INTERLITTERARIA, Tartu Ülikool, maailmakirjanduse õppetool, 50090 Tartu, Estonia tel./fax: +372 73 7 5350, e-mail: [email protected]; website: www.ut.ee/inlit Kirjastaja ja levitaja/Publisher and Distributor: Tartu Ülikooli Kirjastus/Tartu University Press, Tiigi 78, Tartu 50410, Eesti/Estonia tel.: +372 73 7 5945, fax: +372 73 7 5944, e-mail: [email protected], website: www.tyk.ee Kujundaja/Designer: Lemmi Koni Copyright 2009 by Tartu University Press Printed and bound by Tartu University Press. Order No 224 МегИшжй 14 - 2009 - vol II TARTU ÜLIKOOLI KIRJASTUS “INTERLITTERARIA” VALJAANDMIST TOETAB EESTI KULTUURKAPITAL Contents ■ Matieres ■ Inhalt ■ Contenido VOLUME 2 MARINA GRISHAKOVA ■ 261 Time, Narrative Sequence and Causality LIISA STEINBY ■ 273 Kultur als Differenzierung: Die Funktion der Klöpfgeißel-Geschichte in Thomas Manns Doktor Faustus LUULE EPNER • 290 Authenticity and Fictionality in Post-dramatic Theatre ANNELI SARO ■ 303 The Reader in Reading Theatre EVELIN BANHARD - 317 Spatial and Temporal Contrasts In Shakespeare’s As You Like It DANIELE MONTICELLI ■ 327 Crossing Boundaries. Translation of the Untranslatable and (Poetic) Indeterminacy in Yuri Lotman and Giacomo Leopardi ANNE LANGE ■ 349 On the Economy of Translating Lord Jim KATRE TALVISTE ■ 369 A Dispersed Monument: Jaan Kross’ Translations of Poetry on the Landscape of Estonian Literature PIETRO U. DINI ■ 383 ‘Translation’ and Theories of Literary Translation. The Contribution of Comparative Historical Semantics SUSANA G. ARTAL ■ 399 Un traductor comprometido. Eduardo Barriobero у Herrän у la primera traducciön castellana de la obra de Rabelais 260 Contents ■ Matieres ■ Inhalt ■ Contenido TIINA AUNIN ■ 408 Hugh MacLennan’s Two Solitudes in Estonian: Its Sociopolitical and Cultural Message for the Estonian Society JAROSLAV KUŠNIR -416 Motion, Speed and Artificiality in Don De Lillo’s Cosmopolis (2003) JULIA TOFANTŠUK, SULIKO LIIV ■ 427 The Power of Verbal Constructs in the Production of Identity Exploring the Issue in Donald Michael Thomas’ and Eva Figes’ Novels REETSOOL ■ 443 Elizabeth Bishop’s “long trip home” ALI SHEHZAD ZAIDI ■ 452 Sacred Time and the Terror of History in “Twelve Thousand Head of Cattle” EVE PORMEISTER - 464 Ohne Erinnerung keine Gegenwart. Gertrud Leutenegger: Pomona (2004) EVA REIN ■ 484 The Space and Time of Daionjimae Childhood in Higuchi Ichiyö’s Takekurabe MARIA-KRISTIINA LOTMAN ■ 502 On Some Universal Tendencies in MS2 Verse Metres in European Poetry Books and Reviews Received ■ 522 About Authors ■ 528 Time, Narrative Sequence and Causality MARINA GRISHAKOVA Time and causality are linguistic constructs that call into existence specific lingual realities. They are also philosophical concepts that configure relations between narration and world models on which its interpretation depends. The works on narrative time abound; less attention has been paid to narrative causality, however. In 1997, Brian Richardson had every reason to bewail the lack of research in this area (Richardson 1997: 14). Since then, a number of books and articles, discussing both linguistic-rhetorical aspects of narrative causality and its philosophical meanings, have partially filled the lacunae (see e.g. Carroll 2001; Kern 2004; Kafalenos 2006). The studies of fictional worlds where fate, providence, determinism, chance or other kinds of causal agency play a significant role (e.g. in Zola’s, Conrad’s, Faulkner’s, A. Bely’s novels) inevitably touch upon the concepts of time and causality as part of the intellectual history. Nevertheless, the meanings of these concepts as well as their application to the study of fiction are still to be clarified. I shall start from Roland Barthes’ much cited and much debated dictum on “the confusion of consecution and consequentiality, what comes after being read in narrative as what is caused by; the narrative in this case would be a systematic application of the logical error condemned by Scholasticism in the formula post hoc, ergo propter hoc, which might well be the motto of Fate, of which the narrative is in fact merely the “language”” (Barthes 1994: 108). In Brian Richardson’s opinion, Barthes erroneously equates causality with narrative sequence. However, there are at least three proble matic issues that interweave in Barthes’ dictum. First, the concept of causality that evokes various interpretations; second, the sequence of 262 GRISHAKOVA real or fictional actions or events to which the concept of causality is applied; and, finally, the notion of time and chronological order (antecedence or subsequence). Richardson's definition of causality highlights change as the main indicator of causal connection: cause is a condition that oc casions change in the course of events (Richardson 1997: 36). How ever, change as a symptom of causal connection may be either part of a recurrent pattern or a singular event. Many natural phenomena are manifestations of recurrent or predictable causal patterns (“a stone thrown in the air falls down”), whereas intentional processes, incited by human will, are less predictable (they may actualize a cluster of possible scripts or scenarios of behavior) or unpredictable, singular. Unpredictable effects of causation are used in jokes, anec dotes and aphorisms, such as, for instance, a widely known Liver pool joke: “An Irishman, an Italian and a Liverpudlian approach Jesus for healing. The Irishman is blind, the Italian has a withered arm and a Liverpudlian walks on crunches. Jesus touches the Irish man - and the latter regains his sight, he touches the Italian - and the arm functions again. Yet when he is about to touch the Liverpudlian, the latter jumps back and exclaims: “Don’t touch me! I’m on disability benefit!””. The very effect of this anecdote depends on the subversion of the causal chain typical of miracle stories: “touch - recovery”. In the natural world, the very regularity of certain events, as well as relation of antecedence-subsequence or their simultaneity (in time) and contiguity (in space), allows establishing causal con nection, though the latter may remain invisible for the observer. Cor relation suggests causation, though it is not a sufficient condition for it. The very notion of “change” is context-sensitive. Causation con nects not only events, but processes and states of affairs. Bertrand Russell introduced the concept of the “causal line” to highlight the eventual character of long-term causal changes. The causal line may be described as a transformation or metamorphosis rather than a radical change. One phenomenon may be caused by two or more independent or mutually dependent interfering factors: it is often difficult or impossible to detect causality. From this perspective, causal connection may be considered as the way we represent the world rather than a feature of the world itself. It is a type of mental connection that relates facts, i.e. data of human consciousness Time, Narrative Sequence and Causality 263 projected onto the reality, rather than events of the physical reality: “causality is not part of the perceptual level of experience but part of the interpretive level”, or, in other words, “causality is not part of events as experienced, but only of events as described” (Adams 1989:151). A sequence of events may be “naturalized” as causal, even if the relation of causality is probabilistic or hypothetical. As Bastiaan van Fraasen puts it, “this is precisely the point where the rupture between the modem view of material, physical reality and the categories of the personal becomes visible. We can see such internal relations between events when the events are intentional, i.e. when the acts are characterizible in terms of intention involved. But we are unable to find intentionality in the world of physics: the regularities described by physics are simply the patterns in which events occur” (van Fraasen 1991). Projected causality is often fallacious, yet serves as a natural means to explain away or making sense of occurrences unavailable for testing or investigation. This is the case with narra tive causality: the genuine significance of objects and events intro duced early in the story does not become clear until later on or remains ambiguous and obscure in principle. As Genette pointed out in his classical analysis of Remembrance o f Things Past, chronology and causality do not deplete the opportu nities of sequencing. Narrative sequencing often depends on contingency, thematic kinship, hierarchization and supralinear con nection. Causal connections and temporal ordering are most often underdetermined, particularly in fictional narratives. Even the realistic narratives supply only partial information on the sequencing and causality of events: The reader expects a certain vagueness

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