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Anglo-Saxonica ANGLO-SAXONICA REVISTA DO CENTRO DE ESTUDOS ANGLÍSTICOS DA UNIVERSIDADE DE LISBOA Série II número 26 2008 ANGLO-SAXONICA 26 2008 COMISSÃO CONSULTIVA Santiago Corugedo Bernard McGuirk (Universidade de Oviedo) (Universidade de Nottingham) Manuel Gomes da Torre David Worrall (Universidade do Porto) (Universidade de Nottingham/Trent) George Monteiro Susana Onega (Universidade de Brown) (Universidade de Zaragoza) DIRECÇÃO João Almeida Flor Maria Helena Paiva Correia COORDENAÇÃO Isabel Fernandes Maria Teresa Malafaia REVISÃO DE TEXTO João Barrelas José Duarte DESIGN, PAGINAÇÃO E ARTE FINAL Inês Mateus – [email protected] EDIÇÃO Centro de Estudos Anglísticos da Universidade de Lisboa e Edições Colibri IMPRESSÃO E ACABAMENTO Colibri - Artes Gráficas, Lda. TIRAGEM 500 exemplares ISSN 0873-0628 DEPÓSITO LEGAL 86 102/95 PUBLICAÇÃO APOIADA PELA FUNDAÇÃO PARA A CIÊNCIA E A TECNOLOGIA ÍNDICE COLÓQUIOS INTER-ART AND INTERCULTURAL DIALOGUES INTRODUCTORY NOTE . 7 KNOWING WORKS OF ART Derek Attridge . 13 “FRAMED-UP BY THE FRAME”: DECEPTION AND POINT OF VIEW IN PETER GREENAWAY’S THE DRAUGHTMAN’S CONTRACT Mário Avelar . 35 GWEN HARWOOD: AN INTRODUCTORY APPROACH Mário Vítor Bastos . 55 PAINTING WHAT IS NOT THERE: VISION AND NARRATIVE IN MAVIS GALLANT’S STORY “THE DOCTOR” Marijke Boucherie . 71 FIGURING THE SELF: “OLD FATHERS” AND OLD MASTERS IN TWO CONTEMPORARY IRISH POETS Rui Carvalho Homem . 89 CREATIVE CREATURES AND THEIR CREATION SCENES: JENNIFER JOHNSTON’S THIS IS NOT A NOVEL Teresa Casal . 109 READING A BOOK, READING A FILM: A PORTRAIT OF YOUTH IN “MY SON THE FANATIC” Lígia Costa . 125 WORDS AS GAME: THE WRITING AND READING OF POETRY Isabel Fernandes . 137 A KISS IS JUST A KISS: AN MI APPROACH TO DIFFERENT ART FORMS Eduarda Melo Cabrita and Maria Luísa Falcão . 153 6 REVISTA ANGLO-SAXONICA ESTUDOS DE HARRY COOMER A HARI KUMAR. A RAJ NOSTALGIA E O TRADUTOR DE MACAULAY NUM PERSONAGEM DE PAUL SCOTT Cristina Baptista . 167 GARRETT E OSSIAN Gerald Bär . 197 A PRIMEIRA PÁGINA DE JORNAIS PORTUGUESES À LUZ DA ANÁLISE MULTIMODAL Flaviane Faria Carvalho . 221 MILLICENT GARRETT FAWCETT: WRITING IN THE DEFENCE OF WOMEN’S EMANCIPATION Paula Pinto Duarte . 245 MORE THAN A COINCIDENCE? THE PRE-RAPHAELITES AND THE SIBYL VANE SUBPLOT OF THE PICTURE OF DORIAN GRAY Emily Eells . 255 MONA CAIRD’S GENDERED WORK: A GO-BETWEEN NEGOTIATING PAST AND FUTURE Marília Martins Gil . 279 RELEITURAS MFÁBIO LOPES DA SILVA & KANAVILLIL RAJAGOPALAN (ORGS.) A LINGUÍSTICA QUE NOS FAZ FALHAR – INVESTIGAÇÃO CRÍTICA. SÃO PAULO: PARÁBOLA EDITORIAL. Marta Alexandre . 293 COLÓQUIOS INTER-ART AND INTERCULTURAL DIALOGUES Introductory Note ISSN: 0873-0628ANGLO-SAXONICA Série II número 26 he one-day conference Inter-art and Intercultural Dialogues, whose proceedings are gathered in the present volume, signalled Tthe appearance of a newly redefined research project that emerged after 2005 in ULICES (University of Lisbon Centre for English Studies): “English-Speaking Literatures and Cultures: The United Kingdom and The New English-Speaking Countries”. This project, which I have now the honour and pleasure of chairing, after Professor Maria Helena de Paiva Correia (who was responsible for it until 2008) generously entrusted it to my care, greatly benefited from the gradual arrival of new researchers and junior members linked by similar interests and beliefs. Unlike other research units in the country, our group (also known inside ULICES as LA 4 – Linha de Acção 4 / RP 4 – Research Project 4) connects the traditions of English-speaking Literatures in Great Britain and Ireland with writings by authors belonging to non-European and/or non-British cultural traditions emphasising an innovative Inter-art and Intercultural dialogue without ignoring post-colonial perspectives. This was greatly influenced by an epistemological redefinition in the area of English Studies, imposing new ways of negotiating the hitherto hegemonic dimension of British literature with other English-speaking literatures and cultures and with other arts. We pay special attention to all sorts of dialogic encounters at different levels and in different contexts and areas, from the microscopic level of the act of literary reading to the macrocosmic level of intercultural relation ships and communication or the inter-arts correspondences and the attendant inter-semiotic translations, not to mention the specific field of reception studies. Briefly, we move in the interstitial spaces of contact and relation- ship, looking at the peculiar relational dynamics that characterize them. The theoretical framework for such a broad project, so broadly defined, is to be found in the premises and principles that have recently 12 REVISTA ANGLO-SAXONICA emerged from the “ethical turn” in literary theory and criticism, a tendency that came forward in clear reaction to the ontological uncertainties of Postmodernism and that tried to accommodate the processes of globali - sation and multiculturalism. By calling attention to the importance of the face to face encounter of self and other and the need on the subject’s part for accommodating and creatively responding to alterity, ethical criticism has redefined and re-envisioned the self’s responsibility towards the other – be it a text, a person, a country, an ideology, etc. – in terms of an ability or pre-disposition to respond, that is a response-ability which involves both passive acceptance or hospitality (to use a Derridean term) and creative awareness of the self and the other. Therefore it is easy to understand our emphasis on dialogue (present in the title of our conference) to express and make manifest the sensitive and vital negotiation involving self and other and determining the re-evaluation and redefinition of their respective places. On the 15th of March 2007, at Faculdade de Letras, Inter-art and Inter-cultural Dialogues was a one-day conference that properly launched our renewed unit. Our guest speakers addressed various issues: from South-African art and literature (as was the case with Prof. Derek Attridge, our foreign guest speaker and an internationally recognised proponent of ethical criticism) to intermedial relationships both in litera - ture and painting (as in Rui Carvalho Homem’s lecture) and in literature and cinema (as in the case of the one by Mário Avelar). Our researchers presented papers on inter-art relationships (Lígia Costa, for instance), as well as on Irish (Teresa Casal), English (Isabel Fernandes, Luísa Falcão and Eduarda Melo Cabrita), Australian (Mário Vítor Bastos) and Canadian (Marijke Boucherie) Literatures. The papers read by the home based researchers made manifest the type of approach and the thematic emphases that have recently occupied us and our invitations to the international scholar as well as to the national ones were also determined by similar concerns; we would like to take this opportunity to publicly acknowledge our gratitude to our three guest speakers. We feel confident that the result is a coherent volume whose reading is nevertheless enhanced by its thematic variety. Isabel Fernandes Knowing Works of Art Derek Attridge University of York ISSN: 0873-0628ANGLO-SAXONICA Série II número 26 Knowing Works of Art I Several recent theoretical discussions of literature have tried to capture a particular quality of the literary work by ascribing to it the capacity to think. Pierre Macherey’s A quoi pense la littérature? was published in 1990, and although the 1995 English translation preferred the title The Object of Literature, the introductory chapter preserved the original question, “What is literature thinking about?” In 1992, a large conference was sponsored by the newspaper Le Monde, the University of Maine, and the town of Le Mans, to consider the question “L’art est-il une connaissance?”; one of the speakers was Alain Badiou, who entitled his talk, “Que pense le poème?”.1 And in 2003 Stathis Gourgouris published a book entitled Does Literature Think? It’s quite striking that this string of titles associating literature with thinking returns again and again to the mode of the question – perhaps echoing Heidegger’s ques - tion ing title about thinking itself, Was Heisst Denken? Heidegger’s text, which has been translated into English as What is Called Thinking? but also “What Calls for Thinking?”, is a set of lectures given in 1951 and 1952 in which he closely associates thinking – in the sense he wishes to promote – and poetry. Although one can imagine all these titles as statements, their interrogative form suggests that the question of literature and thinking is a question, and perhaps too that thinking as it happens in literature is never far from questioning. 1 The conference proceedings were published in 1993, edited and introduced by Roger-Pol Droit, 214-24. 16 REVISTA ANGLO-SAXONICA What I’m interested in is the implicit personification in these titles: rather than describing the work as the product or embodiment of thought, or as a spur to thought, something about the reading experience leads the theorist or critic to ascribe to the work itself the capacity to think. Although the personification in the title is not always carried through consistently in the discussion that follows (Macherey, for instance, is interested in literature as a mode of philosophy, Gourgouris in literature as a mode of what he calls “mythic thought”), it suggests that, at least for the duration of the reading, it is possible to respond to a series of words as if they had something like human consciousness. Gourgouris elaborates on the question
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