... in the philosophical depth of riddles, irony, and parabolic and nonsensical expression as unorthodox modes of indirect instruction about ordinary language and world, the yearning for transcendence, and the failure to achieve it. Both demanding works deal with the ethical difference between “getting” the philosophical...

...Alan Levinovitz This article explores the meaning of “nonsense” as it is typically employed in discussions of nonsense literature. Definitions of nonsense vary widely and often pay little attention to cultural context or the phenomenology of reading. After surveying the problems...

..., they are nonsense. But while Wright is correct to point out that “Wittgenstein does not mean what Jones [Baraka] means,” his accusation is unwarranted, since Baraka does not in fact “agree” with Wittgenstein at all. 19 Rather, the impropriety of the quotation is itself the point. Baraka wrenches the phrase from...

.... (The narrator never mentions this “trauma” again.) Francesca replaces divine love with corpo- real love; Beckett replaces a meaningful allusion with a nonsensical one. Comment c’est  incites associative meanings and yet mocks those associations, as though to say that no greater understanding...

... at the penultimate statement, the text offers a dilemma: we are told that everything we have read so far is nonsense to be discarded. Wittgenstein writes, “My propositions are elucidatory in this way: he who understands me finally recognizes them as senseless, when he has climbed out through them, on them, over them...

... position of the outcast), these texts overwhelm us with “a whole lot of nonsense which has nothing insig- nificant about it . . . crushing [us with] hallucinations that respect no limits or rules” (Kristeva, “Approaching Abjection” 126-27). The phobic and racist fear expressed so vividly in Gelblum’s...

... resembles “ethics” as Wittgen- stein described it in a 1929 lecture: “nonsense,” a hopeless “tendency” to “run against the boundaries of language” that he nevertheless “respect[s] deeply.” But for the author of the Tractatus, literature is a category to be “pass[ed] over in silence,” while...

... the stars. My Hebrew is not clean. My Hebrew is un-serious and speaks unseriousness and nonsenses because not enough. I am the one who leaves at night to the garden in the square in Dizengoff in the dark words that are impossible. (Avot Yeshurun, “A Poem in Relationship”) Naomi...

... > Morson, Gary Saul. “Gogol′'s Parables of Explanation: Nonsense and Prosaics.” Essays on Gogol′: Logos and the Russian Word . Ed. Susanne Fusso and Priscilla Meyer. Evanston: Northwestern UP, 1992 . 200 –39. Mitchell, David T. and Sharon L. Snyder. Narrative Prosthesis: Disability...

... in a decidedly colonial setting. Ultimately, the two African writers resist vocal and linguistic categorization with the noise, cries, stutters, and so on that pervade their prose—a reminder of how meaning always teeters on the edge of nonsense. For both writers, then, it is the grotesque sonority of colonial...

... no meaning, and hence the sentence would be nonsense. But it does make sense; so there must always be something corresponding to the words of which it consists. So the word “Excalibur” must disap- pear when the sense is analyzed and its place be taken by words which name...

... in the ancient language of Yiddish, when you left on Shabbat between the stars. My Hebrew is not clean. My Hebrew is un-serious and speaks unseriousness and nonsenses because not enough. I am the one who leaves at night to the garden in the square in Dizengoff in the dark words...

... . Print . Sokal Alan D. Bricmont Jean . Fashionable Nonsense: Postmodern Intellectuals' Abuse of Science . New York : Picador , 1998 . Print . Solow Robert M. “The Wide, Wide World of Wealth.” The New York Times Book Review 30 . 25 ( 1988 ): 25 . Print . Stigler...

... tongue of politics. (200–01) The acoustics of the open space and the erratic transmission of the loudspeak- ers distort Nayan Raj’s words so that what Harsha Bahadur hears is a stream of near-nonsense. Of course, it is possible to decipher this apparent gobbledygook by simply looking...

... sense / and non-sense). Speaking in dialogue with Augusto de Campos’s poetics, the distinction between sense and nonsense takes place at the level of disposability, of what is least “essential” to language’s signifying process—a poetics that emerges from concretism’s celebration of language and poetry’s...

... that there is a serious purpose in ‘The Man Who Was Thurs- day.’ Vaguely, indeed, one discerns an allegory behind the nonsense of it . . . . But perhaps too much has been said of Mr. Chesterton’s allegory, which has the merit of hiding itself out of sight until the last pages are approached, and the main part...

... to emerge as an unparried refutation of the nonsense his servant talks did not go unno­ticed by Molière’s pious ene­mies. It licensed both the ab­bé de Rochemont’s charge that the playwright was “un Di­able incarné” intent on destroying or­thodox belief (Mongrédien 89–90) and the play’s closure after...

...- ronmental humanities, but perhaps before we can really get into this discussion, we need to debunk Wilson’s cancerous nonsense: it is time to face facts, one of which is that Wilson, who is often wrongly seen as a bridge between the sciences and the arts, is not qualified to discuss what literary...

... clearly linked to “revolution” in the modern (political) sense until the eighteenth century (Sens 6–8). Kristeva makes use of this plasticity by insisting that we must have in mind both the “sense” and “nonsense” of revolt. Thus, elements such as “vaudeville,” which for her connote...

... “Photograph” is CAMERA LUCIDA & RONIT MATALON / 207 itself composed of clichés, quotations, partially or entirely nonsensical utterances, and surrealist images. By structuring her story around incomplete and incongru- ous quotations from the Hebrew translation of La...