Faculty of English the Spirit of Exemplarity

Total Page:16

File Type:pdf, Size:1020Kb

Faculty of English the Spirit of Exemplarity Faculty of English The Spirit of Exemplarity: The Role of Example in Lyric Studies Christopher Mark Geddes Scott Trinity College University of Cambridge This thesis is submitted for the degree of Doctor of Philosophy, March 2019 Prefatory Declaration This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution. It does not exceed the prescribed word limit for the relevant Degree Committee, including footnotes, references and appendices but excluding the bibliography and translations, where they have been provided only to aid understanding. All translations are my own, unless otherwise stated. The Spirit of Exemplarity: The Role of Example in Lyric Studies Christopher Scott Abstract Recent work in lyric studies has been dominated by two opposing camps: the historicism of the ‘New Lyric Studies’ and the attempt to defend a trans-historical category of lyric, most notably by Jonathan Culler. This thesis begins by claiming that these two camps have something in common: their practice of exemplification and their attitude towards individual example. Turning to Ludwig Wittgenstein and Stanley Cavell, I describe an alternative mode of exemplarity which, as Toril Moi attests, is now largely absent from the discipline of literary studies. The argument for a practice of exemplification in lyric criticism which attends to individual poems without an ultimate appeal to a general conception or the pursuit of historical and cultural knowledge risks being dismissed on the grounds that it is ‘New Critical’: politically and methodologically backward. My first chapter looks to trouble the ‘New Critical’ caricature which is so often invoked, especially in lyric studies, as a means of warding off ways of thinking and reading. As I examine the term ‘New Criticism’ with reference to a number of commentators, it becomes clear that it is unhelpfully diffuse, and that we need to re-visit many of the perceived critical flaws associated with it. My second chapter looks back to, and takes issue with, Jonathan Culler’s ‘Apostrophe’, which it considers both as an important work in the move beyond ‘New Criticism’ and as an emblematic essay for theoretical approaches to lyric poetry. I continue to take Culler’s work as an example of the theoretical approach to lyric in chapter three, as we investigate the development of ‘Apostrophe’ in the influential Theory of the Lyric, with particular attention to J. L. Austin and Jacques Derrida. My fourth chapter moves the thesis into a more positive mood, as it looks first at the way in which the argument of this thesis might be situated in relation to ‘post- critical’ work, before arguing for and describing a practice of wide critical attention to be paid as we consider individual poems and our encounters with them. Such a practice, I make clear throughout the thesis with reference to the recent work of Joseph North, is incompatible with the currently dominant paradigm of literary study, and we’ll consider in an afterword potential changes to the discipline which might be necessary to enable work in this spirit of exemplarity to become standard, taking its place alongside scholarly work which aims to produce cultural and historical knowledge. My final chapter turns to individual lyric poems (a Greek epitaph, a medieval lyric, and a Wordsworth poem), seeking to enact the kind of critical work for which the thesis has argued, while continuing its project of expanding the range of examples typically considered in attempts to create models of lyric. As we read the poems, particular attention will be paid to how they interact with claims that lyric poems are events, not objects, and with discussions about repeatability and literary value. Contents Acknowledgements p. i Introduction p. 1 – Traditional examples p. 1 – Wittgenstein and example p. 7 – Jonathan Culler’s practice of exemplarity in Theory of the Lyric p. 22 Chapter one: lyric studies, close reading, and the ‘New Criticism’ p. 29 – Introduction: ‘New Criticism’ and lyric studies p. 29 – Close reading today p. 32 – Back to the ‘New Critics’ p. 37 – Back to the scholarly turn p. 44 – One moment of polemic p. 49 Chapter two: apostrophe p. 56 – Introduction: the reason for the return p. 56 – ‘Apostrophe’, the ‘New Critics’, and cognitive rhetoric p. 56 – Dissenting voices from within literary studies p. 66 – Classical origins and their role in ‘Apostrophe’ p. 69 – Adonais and discursive time p. 75 – ‘Sonnet’: towards a different account p. 81 Chapter three: Theory of the Lyric and iterability p. 93 – Introduction: transition from ‘Apostrophe’ to Theory of the Lyric p. 93 – Lyrics and pop songs p. 97 – Iterability p. 99 – Encounter p. 107 Chapter four: a ‘realistic spirit’ p. 109 – Models, methods, and spirits p. 109 – Following Empson p. 115 – A realistic spirit, from the ground up: justifying ‘literature’ p. 121 – Wide attention p. 128 Chapter five: towards a ‘sort of collection of examples’ p. 132 – Preface p. 132 – Example one: ‘A god, and yet a man?’ and literary value p. 134 – Example two: ‘The Two April Mornings’ and repetition p. 151 – Example three: Leonidas, ambiguity, object p. 162 Afterword p. 171 Bibliography p. 178 Acknowledgements I thank Ross Wilson, who took over as my supervisor in my third year of the PhD, for his invaluable help with strengthening this thesis’s thesis, for his many illuminating comments and suggestions, and his counter-arguments, always offered in a constructive spirit, which unfailingly helped me to think further about and defend my own. I owe him a debt of gratitude for stepping in at such a late stage, taking on a student in need of quite a bit of attention. Too many individuals, to have recourse to a truism of the acknowledgements page, have contributed to the development of this thesis for me to thank them all without boring the reader (and perhaps risking being seen to over-estimate the achievement contained in these pages!). But I’d like to thank, in particular, but in no particular order: Jackie Tasioulas, for her inspirational teaching of medieval literature, and for giving me confidence in a place where self-confidence is hard to find; Adrian Poole, for his kind, attentive, and unfailing guidance; Andrew Broughton, for teaching me and so many other pupils with such talent, skill, and attention; Joe Moshenska, for his spirit of using and taking from various critical methods and theories without subscribing to them; Jessica Martin, for teaching me how to write a dissertation; and Anne Stillman, for teaching me how to think differently. I would also like to thank Robbie Lyon and Mitch Bibby, for their constant support and friendship; my mother, for, amongst so many other things, always being on the end of the phone; and Grace, for her love, belief, and encouragement. Two people passed away in the course of my writing this thesis to whom I would like to dedicate it: Eric Griffiths, who inspired and taught so many of those who have inspired and taught me; and Jean Robinson, my grandmother, whose humility and good company I miss deeply. i Introduction ‘Do you mean anything particular – just now?’ ‘No, I mean something general – always.’1 Tout exemple cloche.2 Traditional examples There is a moment in Hegel’s Aesthetics which appears to play a significantly similar role in the thought of two recent theorists of lyric poetry whose differences are more often brought to our attention: To define the poetic as such or to give a description of what is poetic horrifies nearly all who have written about poetry. And in fact if a man begins to talk about poetry as an imaginative art without having previously examined what art’s content and general mode of representation is, he will find it extremely difficult to know where to look for the proper essence of poetry. But the awkwardness of his problem especially increases if he starts from the individual character of single works and then proposes to assert some universal derived from this character and supposed to be valid for the most varied genres and sorts of poetry. Along these lines the most heterogeneous works count as poetry. If this assumption is presupposed and the question is then raised: By what right should such productions be recognised as poems? the difficulty just mentioned enters at once. Fortunately, at this point in our discussion we can evade this difficulty. In the first place, we have not reached the general conception of the matter in hand by deriving it from single examples; on the contrary, we have endeavoured to develop the real exemplifications of this conception from the conception itself and consequently we cannot be required, e.g. in the sphere we are dealing with now, to subsume under this conception whatever is commonly called a poem, because the decision on whether something actually is a poetical production or not is to be derived solely from the conception of poetry itself.3 From this, Jonathan Culler takes it as read that ‘Hegel rightly insists that a properly philosophical aesthetics seeks to grasp the logic of art and does not derive its conceptions of art from particular examples’; Virginia Jackson asserts that ‘[m]ost of us would agree with Hegel that to derive a general conception – a genre – from a single example is a logical mistake’.4 From this common position, the two critics go off in separate directions.
Recommended publications
  • I Am Not a Woman Writer’ About Women, Literature and Feminist Theory Today FT
    259-271 095850 Moi (D) 4/9/08 09:39 Page 259 259 ‘I am not a woman writer’ About women, literature and feminist theory today FT Feminist Theory Copyright 2008 © SAGE Publications (Los Angeles, London, New Delhi, Singapore, and Washington DC) vol. 9(3): 259–271. 1464–7001 DOI: 10.1177/1464700108095850 Toril Moi Duke University http://fty.sagepub.com Abstract This essay first tries to answer two questions: Why did the question of the woman writer disappear from the feminist theoretical agenda around 1990? Why do we need to reconsider it now? I then begin to develop a new analysis of the question of the woman writer by turning to the statement ‘I am not a woman writer’. By treating it as a speech act and analysing it in the light of Simone de Beauvoir’s understanding of sexism, I show that it is a response to a particular kind of provocation, namely an attempt to force the woman writer to conform to some norm for femininity. I also show that Beauvoir’s theory illuminates Virginia Woolf’s strategies in A Room of One’s Own before, finally, asking why we, today, still should want women to write. keywords J. L. Austin, Simone de Beauvoir, femininity, feminist literary criticism, literature, women writers, Virginia Woolf Why is the question of women and writing such a marginal topic in feminist theory today? The decline of interest in literature is all the more striking given its central importance in the early years of feminist theory. Although I shall only speak about literature, I think it is likely that the loss of interest in literature is symptomatic of a more wide-ranging loss of interest in questions relating to women and aesthetics and women and creativity within feminist theory.
    [Show full text]
  • APÉNDICE BIBLIOGRÁFICO1 I. Herederas De Simone De Beauvoir A. Michèle Le Doeuff -Fuentes Primarias Le Sexe Du Savoir, Aubier
    APÉNDICE BIBLIOGRÁFICO1 I. Herederas de Simone de Beauvoir A. Michèle Le Doeuff -Fuentes primarias Le sexe du savoir, Aubier, Paris : Aubier, 1998, reedición: Champs Flammarion, Paris, 2000. Traducción inglesa: The Sex of Knowing. Routledge, New-York, 2003. L'Étude et le rouet. Des femmes, de la philosophie, etc. Seueil, Paris, 1989. Tradcción inglesa: Hipparchia's Choice, an essay concerning women, philosophy, etc. Blackwell, Oxford, 1991. Traducción española: El Estudio y la rueca, ed. Catedra, Madrid, 1993. L'Imaginaire Philosophique, Payot, Lausanne, 1980. Traducción inglesa: The Philosophical Imaginary, Athlone, London, 1989. The Philosophical Imaginary ha sido reeditado por Continuum, U. K., 2002. "Women and Philosophy", en Radical Philosophy, Oxford 1977; original francés en Le Doctrinal de Sapience, 1977; texto inglés vuelto a publicar en French Feminist Thought, editado por Toril Moi, Blackwell, Oxford 1987. Ver también L'Imaginaire Philosophique o The Philosophical Imaginary, en una antología dirigida por Mary Evans, Routledge, Londres. "Irons-nous jouer dans l'île?", en Écrit pour Vl. Jankélévitch, Flammarion, Flammarion, 1978. "A woman divided", Ithaca, Cornell Review, 1978. "En torno a la moral de Descartes", en Conocer Descartes 1 Este apéndice bibliográfico incluye las obras de las herederas de Simone de Beauvoir, así como las de Hannah Arendt y Simone Weil, y algunas de las fuentes secundarias más importantes de dichas autoras. Se ha realizado a través de una serie de búsquedas en la Red, por lo que los datos bibliográficos se recogen tal y como, y en el mismo orden con el que se presentan en las diferente páginas visitadas. y su obra, bajo la dirección de Victor Gomez-Pin, Barcelona 1979.
    [Show full text]
  • Chapter One Towards a Feminist Reading
    Chapter One Towards a Feminist Reading The advent of feminism as a global and revolutionary ideology has brought into the field of literary criticism new critical outlooks and modes of exegesis. The practice of reading of any literary text has become a site in the struggle for change in gender relations that prevail in society. A reading that is feminist aims at asking such rudimentary questions: how the text defines sexual questions, what it says about gender relations and how it represents women. In other words, feminist reading/criticism has come to be recognized as a political discourse: a critical and theoretical practice committed to the struggle against patriarchy and sexism. The influential feminist critic, Elaine Showalter points out that two factors - gender and politics- which are suppressed in the dominant models of reading gain prominence with the advent of a feminist perspective. In every area of critical reflection whether it is literary representations of sexual difference or the molding/shaping of literary genres by masculine values feminist criticism has established gender as a fundamental category of literary analysis. With ,gender as a tool of literary interpretation the issue of silencing of the female voice in the institutions of literature, criticism and theory has also come to the forefront. Appreciating the widespread importance of gender, feminist philosophers resist speaking in gender-neutral voice. They value women's experiences, interest, and seek to shift the position of women from object to one of subject and agent. 1 Moreover, it has been an important function of feminist criticism to redirect attention to personal and everyday experience of alienation and oppression of women (as reflected in literary texts).
    [Show full text]
  • The Horse-Breeder's Guide and Hand Book
    LIBRAKT UNIVERSITY^' PENNSYLVANIA FAIRMAN ROGERS COLLECTION ON HORSEMANSHIP (fop^ U Digitized by the Internet Archive in 2009 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/horsebreedersguiOObruc TSIE HORSE-BREEDER'S GUIDE HAND BOOK. EMBRACING ONE HUNDRED TABULATED PEDIGREES OF THE PRIN- CIPAL SIRES, WITH FULL PERFORMANCES OF EACH AND BEST OF THEIR GET, COVERING THE SEASON OF 1883, WITH A FEW OF THE DISTINGUISHED DEAD ONES. By S. D. BRUCE, A.i3.th.or of tlie Ainerican. Stud Boole. PUBLISHED AT Office op TURF, FIELD AND FARM, o9 & 41 Park Row. 1883. NEW BOLTON CSNT&R Co 2, Entered, according to Act of Congress, in the year 1883, By S. D. Bruce, In the Office of the Librarian of Congress, at Washington, D. C. INDEX c^ Stallions Covering in 1SS3, ^.^ WHOSE PEDIGREES AND PERFORMANCES, &c., ARE GIVEN IN THIS WORK, ALPHABETICALLY ARRANGED, PAGES 1 TO 181, INCLUSIVE. PART SECOISTD. DEAD SIRES WHOSE PEDIGREES AND PERFORMANCES, &c., ARE GIVEN IN THIS WORK, PAGES 184 TO 205, INCLUSIVE, ALPHA- BETICALLY ARRANGED. Index to Sires of Stallions described and tabulated in tliis volume. PAGE. Abd-el-Kader Sire of Algerine 5 Adventurer Blythwood 23 Alarm Himvar 75 Artillery Kyrle Daly 97 Australian Baden Baden 11 Fellowcraft 47 Han-v O'Fallon 71 Spendthrift 147 Springbok 149 Wilful 177 Wildidle 179 Beadsman Saxon 143 Bel Demonio. Fechter 45 Billet Elias Lawrence ' 37 Volturno 171 Blair Athol. Glen Athol 53 Highlander 73 Stonehege 151 Bonnie Scotland Bramble 25 Luke Blackburn 109 Plenipo 129 Boston Lexington 199 Breadalbane. Ill-Used 85 Citadel Gleuelg...
    [Show full text]
  • Francesco Petrarch, Some Love Songs of Petrarch (14Thc)
    Petrarch_0558 http://oll.libertyfund.org/Home3/EBook.php?recordID=0558 [XLVCCXLVCLXXXIXCLXXVICXXVCXLVCLXCCXVCCXLIXCCLCCCCCLXXVCCLXIXCCCXCCCXXCCCXVCCLXXCCCXXXICCCXXVCCCXLCCCXLICCCXLVICCCLXVCCCLXVICXVLXXXIXCXXXVICXXXIVLXXXICCCXICCLXVIICXXIXCXXVICLVICLIXXCCCCXXXIIICCCXLIIICXIXCXXIXCIXCCCXIICCXXXVIIILCCXXIICCCLIIILIVLXXIICCXCIIICCCIILXXVIIICXCIICCXIICXXVIIICVICXIXCIXXXVIIIXXIXXXIILXVIIILXIICXXIIIXXXIIIXXIILXIIIXILIILIIIXIIIIIII]]]]]]]]]]]]]]]]]]]]]]] ] THE ONLINE LIBRARY OF LIBERTY Chaucer.Hisfriendships.HisSeeksEditionsTheLove religiousfollowers.loveloveHumanist. of Italian fame.ofof hisLaura.antiquity.fame. feeling. unity. works. Netherlands.Channel.Vaucluse.1338.court.Cicero.secretaryship.Petrarch.Tribune.forFlorence.physicians.returnremonstrate.Viscontithemanuscripts.poems.Venetians.toAvignon.Literature. Rome. Italy.succession. to dies. Italy. © Liberty Fund, Inc. 2005 http://oll.libertyfund.org/Home3/index.php FRANCESCO PETRARCH, SOME LOVE SONGS OF PETRARCH (14THC) URL of this E-Book: http://oll.libertyfund.org/EBooks/Petrarch_0558.pdf URL of original HTML file: http://oll.libertyfund.org/Home3/HTML.php?recordID=0558 ABOUT THE AUTHOR Francesco Petrarca was an Italian scholar and poet who is regarded by many scholars as being among the first humanists. He contributed to the Renaissance flowering of lyric poetry and literature through his poems addressed to Laura, his idealized beloved. Petrarch’s love of classical authors and learning inspired him to visit men of learning and search monastic libraries for classical texts. His discovery
    [Show full text]
  • FEMINIST LITERARY THEORY a Reader
    FEMINIST LITERARY THEORY A Reader Second Edition Edited by Mary Eagleton P u b I i s h e r s Contents Preface xi Acknowledgements xv 1 Finding a Female Tradition Introduction 1 Extracts from: A Room of One's Own VIRGINIA WOOLF 9 Literary Women ELLEN MOERS 10 A Literature of Their Own: British Women Novelists from Bronte to Lessing ELAINE SHOW ALTER 14 'What Has Never Been: An Overview of Lesbian Feminist Literary Criticism' BONNIE ZIMMERMAN 18 'Compulsory Heterosexuality andXesbian Existence' ADRIENNE RICH 24 'Saving the Life That Is Your Own: The Importance of Models in the Artist's Life ALICE WALKER 30 Title Essay In Search of Our Mothers' Gardens ALICE WALKER 33 Feminist Practice and Poststructuralist Theory CHRIS WEEDON 36 'Race and Gender in the Shaping of the American Literary Canon: A Case Study from the Twenties' PAUL LAUTER 39 Women's Oppression Today: Problems in Marxist Feminist Analysis MICHELE BARRETT 45 'Writing "Race" and the Difference it Makes' HENRY LOUIS GATES, JR 46 'Parables and Politics: Feminist Criticism in 1986' NANCY K. MILLER 48 Reading Woman: Essays in Feminist Criticism MARY JACOBUS 51 'Happy Families? Feminist Reproduction and Matrilineal Thought' LINDA R. WILLIAMS 52 'What Women's Eyes See' VIVIANE FORRESTER 56 'Women and Madness: The Critical Phallacy' SHOSHANA FELMAN 58 vi CONTENTS 'French Feminism in an International Frame' GAYATRI CHAKRAVORTY SPIVAK 59 Feminist Literary History: A Defence JANET TODD 62 2 Women and Literary Production Introduction 66 Extracts from: A Room of One's Own VIRGINIA WOOLF 73 'Professions for, Women' VIRGINIA WOOLF 78 Silences TILLIE OLSEN 80 'When We Dead Awaken: Writing as Re-Vision' ADRIENNE RICH 84 The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination SANDRA M.
    [Show full text]
  • Feminism in Time
    )HPLQLVPLQ7LPH 0DUJDUHW:)HUJXVRQ MLQ: Modern Language Quarterly, Volume 65, Number 1, March 2004, pp. 7-27 (Article) 3XEOLVKHGE\'XNH8QLYHUVLW\3UHVV For additional information about this article http://muse.jhu.edu/journals/mlq/summary/v065/65.1ferguson.html Access provided by University of California, Davis (8 Aug 2015 00:21 GMT) Feminism in Time Margaret Ferguson ike the White Rabbit, those of us addressing you from the pages of L this special issue on “feminism in time” are late, quite late, for what remains (arguably) a very important date—with a highly enigmatic fig- ure whose continued existence is subject to debate in these and other (related) sets of pages written shortly before and shortly after the turn of the millennium. As a figure, feminism has multiple, changing, and disputed referents. The name in the dominant modern sense given by the Oxford English Dictionary —“advocacy of the rights of women (based on the theory of equality of the sexes)”—came rather belatedly into English: 1894–95, according to the OED’s entries for the substantive and adjectival forms of the word. This philological fact may surprise you (it did me), since many students of feminism, including one in this col- lection (Laura Mandell), date the birth of feminism in its modern form to the European Enlightenment. Yet more specifically, but also more partially, with reference to the coordinates of “national” language and geography as well as to those of linear time, feminism’s “birth” has been (and is here too) provisionally located in the writings of Mary Woll- stonecraft, in particular her famous Vindication of the Rights of Woman (1792).
    [Show full text]
  • The Semiotics of Tourism Own Provincial Expectations
    From: Framing The Sign: Criticism and Its Institutions © University of Oklahoma Press, 1990 The Semiotics of Tourism own provincial expectations. The French chanteuse singing English with a French accent seems more charmingly French JONATHAN CULLER than one who simply sings in French.1 Tourism is a practice of considerable cultural and economic There are perhaps interesting reasons why this should be so, importance and, unlike a good many manifestations of but Boorstin does not stop to inquire. ‘Tourist “attractions” offer contemporary culture, is well known in some guise to every an elaborately contrived indirect experience, an artificial product literary or cultural critic. Some may claim ignorance of to be consumed in the very places where the real thing is free as television or rock music or fashion, but all have been tourists and air’. What could be more foolish than a tourist paying through have observed tourists. Yet despite the pervasiveness of tourism the nose for an artificial substitute when the real thing, all around and its centrality to our conception of the contemporary world him, is as free as the air? (for most of us, the world is more imperiously an array of places This discussion is not untypical of what passes for cultural one might visit than it is a configuration of political or economic criticism: complaints about the tawdriness or artificiality of forces), tourism has been neglected by students of culture. modern culture which do not attempt to account for the curious Unlike the cinema, popular romance, or even video, tourism has facts they rail against and offer little explanation of the cultural scarcely figured in the theoretical discussions and debates about mechanisms that might be responsible for them.
    [Show full text]
  • Narrations of Ambiguity: Contemporary
    NARRATIONS OF AMBIGUITY: CONTEMPORARY CHALLENGES TO TRADITIONAL NARRATIVE THEORY by MATTHEW TODD WOMBLE Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON May 2015 Copyright © by Matthew Todd Womble 2015 All Rights Reserved ii Acknowledgements I want to acknowledge the invaluable help and guidance I received from my supervising committee. I am indebted to my chair, Dr. Jim Warren, for multiple reasons, not the least of which is his willingness three years ago to work with a literature student like me. His guidance during my year of comprehensive exams steered me to the topics I take up in this dissertation, and our ongoing conversations have continually helped frame my analyses. I am similarly thankful of Drs. Tim Morris and Ken Roemer for their astute feedback and seemingly never-ending breadth of knowledge. Without their time and effort, this dissertation would be lacking in terms of scope, depth, and diversity of texts. On a personal level, I am extremely grateful for the opportunity to have worked with each of these three professors and to have had the chance to “pick their brains” over the last two years. They are each experts in their own respective fields, and my own scholarship undoubtedly benefits from their expertise and their guidance. I would also like to say thanks to Half Price Books (Flagship Location, Northwest Highway, Dallas), whose large reading room served as the setting for much of the writing below; to the Avett Brothers, Local Natives, and Tennis, whose music served as the soundtrack to my daily writing; and to Diet Coke, without which none of this could have been accomplished.
    [Show full text]
  • From Post-Structuralism to Systems Theory
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Purdue E-Pubs CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 2 (2000) Issue 2 Article 1 On Literariness: From Post-Structuralism to Systems Theory Marko Juvan University of Ljubljana Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Juvan, Marko. "On Literariness: From Post-Structuralism to Systems Theory." CLCWeb: Comparative Literature and Culture 2.2 (2000): <https://doi.org/10.7771/1481-4374.1068> This text has been double-blind peer reviewed by 2+1 experts in the field.
    [Show full text]
  • Petrarch's Bookshop
    AUSTRALIAN INDEPENDENT BOOKSELLER SUMME by Greg & Lucy Malouf (Hardie Grant Books) R RE SUQAR: Desserts and Sweets from the Modern Middle East ADS Cover illustration from from illustration Cover PETRARCH’S BOOKSHOP 89 Brisbane Street, Launceston 7250 . Ph: 6331 8088 . Fax: 6331 5163 Email: [email protected] . www.petrarchs.com.au GREAT GIFT IDEAS AUSTRALIAN STORIES AN OPEN BOOK THE YEAR OF THE David Malouf FARMER Hardback RRP $29.95 Rosalie Ham An Open Book is the Paperback RRP $32.99 literary gift this summer. Perfect for fans of David In a quiet farming town Malouf's fiction, this somewhere in country collection is a tonic, an New South Wales, war is antidote to the grinding brewing. The Year of the Also busyness of the everyday, Farmer is a darkly satirical available in and filled with wisdom, novel of a small country Hardback personal reflections and RRP $39.99 town battling the elements BRIDGE OF CLAY subtle reminders of the ways poetry, music and and one another, from the bestselling author creativity enrich our lives. Markus Zusak of The Dressmaker. Paperback RRP $32.99 The Dunbar boys bring each other up in a house run by their own rules. A family of ramshackle tragedy - their mother is dead, their father has HIPPIE PRESERVATION fled - they love and fight, and learn to reckon Paulo Coelho Jock Serong with the adult world. Paperback RRP $29.99 Paperback RRP $29.99 It is Clay, the quiet one, who will build a bridge; His most autobiographical 1797. On a beach not far for his family, for his past, for his sins.
    [Show full text]
  • Simone De Beauvoir
    The Cambridge Companion to SIMONE DE BEAUVOIR Edited by Claudia Card University of Wisconsin published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge cb2 1rp, UnitedKingdom cambridge university press The Edinburgh Building, Cambridge, cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2003 This book is in copyright. Subject to statutory exception andto the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printedin the UnitedKingdomat the University Press, Cambridge Typeface Trump Medieval 10/13 pt System LATEX 2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data The Cambridge companion to Simone de Beauvoir / edited by Claudia Card. p. cm. – (Cambridge companions to philosophy) Includes bibliographical references and index. isbn 0 521 79096 4 (hardback) – isbn 0 521 79026 3 (paperback) 1. Beauvoir, Simone de, 1908–1986. I. Card, Claudia. II. Series. b2430.b344c36 2002 194 –dc21 2002067378 isbn 0 521 79096 4 hardback isbn 0 521 79429 3 paperback contents List of tables page xi Notes on contributors xii Acknowledgments xv Chronology xvii List of abbreviations xxiii Introduction 1 claudia card 1 Beauvoir’s place in philosophical thought 24 barbara s. andrew 2 Reading Simone de Beauvoir with Martin Heidegger 45 eva gothlin 3 The body as instrument and as expression 66 sara heinamaa ¨ 4 Beauvoir andMerleau-Ponty on ambiguity 87 monika langer 5 Bergson’s influence on Beauvoir’s philosophical methodology 107 margaret a.
    [Show full text]