Search Results for dead

...Christopher W. Sten Copyright © 1974 by Duke University Press 1974 BARTLEBY THE TRANSCENDENTALIST MELVILLE’S DEAD LETTER TO EMERSON By CHRISTOPHERW. STEN In his essay “The Transcendentalist” (1843), Emerson remarked that he...

...Steven G. Kellman Copyright © 1974 by Duke University Press 1974 IMAGINING THE NOVEL DEAD RECENT VARIATIONS ON A THEME BY PROUST By STEVENG. KELLMAN It is now twenty years since 1953, the annus mirubilis in which Alain...

...Philip M. Weinstein Copyright © 1982 by Duke University Press 1982 CHOOSING BETWEEN THE QUICKAND THE DEAD THREE VERSIONS OF LADY CHATTERLEY’SL~VER...

...Frederick A. Klemm Copyright © 1941 by Duke University Press 1941 THE DEAD-HAND MOTIVE AS A PHASE OF GERHART HAUPTMANN’S ROMANTICISM By FREDERICKA. KLEMM The term “dead hand” or its equivalent “mortmain” is used here...

...Judith Ryan Copyright © 1992 by Duke University Press 1992 DEAD POETS’ VOICES: RILKE’S “LOST FROM THE OUTSET” AND THE ORIGINALITY EFFECT By JUDITH RYAN Harold Bloom’s model of intertextuality has rightly been described as “deeply psychological...

...Denis Hollier Copyright © 1993 by Duke University Press 1993 On Literature Considered as a Dead Language Denis Hollier A literature always arrives at its destination. s a working hypothesis, I’ll oppose two generic models of literary A history. According...

...Meredith Anne Skura Copyright © 1993 by Duke University Press 1993 I want to thank Martin Wiener for his advice and suggestions about the material in this essay. Understanding the Living and Talking to the Dead: The Historicity of Psychoanalysis Meredith Anne Skura...

...Michael Thurston Copyright © 1999 by Duke University Press 1999 Documentary Modernism as Popular Front Poetics: Muriel Rukeyser’s “Book of the Dead” Michael Thurston In the standard history of modern American poetry, 1929 does not stand out. Ernest Hemingway published...

...Janet Sorensen In dominant accounts, the eighteenth-century “ballad revival” brought a dead form back to life by digging up old songs and restoring their force and meaning. It also brought “the people,” as producers or consumers of ballads, to a kind of national public life but relegated them...

... rumbling through her work, Chukhrov’s theses are consistent: art must be communist; all desire, even faked, is political eros; and the post-Soviet subject is not even dead. Chukhrov embeds her politics in institutional critique, lends her labor to collectives and collaborations, and refracts her poetic...

... of “orality” in tandem with new techniques for transcribing sound, to twentieth-century literary scholars’ extensive experiments with film and video as novel pedagogical aids. Along with the contributions to this special issue, this introduction shows that revisiting the false starts and dead ends of media...

...Joseph Roach Performance and memory share a practice of disguise best described by the word surrogation . Surrogation occurs when more or less plausible substitutes appear in place of the dead, the fugitive, or the banished. Properly disguised, persons can even stand in as surrogates for themselves...

... the category of world literature presupposes authors and translators driven to contribute to the canon of world literature. Walter Benjamin observes that translation endows a literary work with “continued life” or “afterlife,” without which many works of global significance remain “dead” or marginalized...

... the contradictions of saying “I” are part of the story: When I am dead, my dearest, Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree. (Poetical Works, 290) The characteristically witty, posthumous imagining of “Song” is not the same as that which Andrew...

.... Jerome McGann captures one haunting anxiety in a maxim: “Scholarship preserves the poetry of the past but threatens it with a night of the living dead.”6 He cannot mean that we scholars are threat- ened by the reanimated corpses of dead poetry; it is “it,” the poetry, that is threatened...

... them is unique and that they have to deal, not with a lifeless object, but with a dead human being. Suddenly they feel the “unknownness” of life as well as of death, because a mysterious force emanates from this partic- ular human being and confers a kind of understanding. In Rilke...

... writer”-with which literate mediums have so eagerly sought to ally themselves. Indeed, if the author is, as Michel Foucault puts it, “the ideological figure by which one marks the manner in which we fear the proliferation of meaning,” then a spirit medium who claims to ghostwrite for the dead...

... as familiar as those of Boston (1770, three dead on the spot, two later) or Peterloo (1819, fifteen dead, four hundred to seven hundred injured) or Amritsar (1919, nearly four hundred dead, eleven hundred wounded, official figures) or Tlatelolco (1968, thirty dead officially, three hundred dead...

... almost identical.” During the 1940s, to invoke the dead outside the civic norms of elegy was potentially un-American, an appeal to “Jews, / Reds, Negroes.” How Americans (let alone artists) were to integrate reality and fantasy has been a familiar quandary since. Because they imagine the morality...

... in the poets’ discussions of dead predecessors and in their strong creative response to their heritage. Whether combative acts or acts of homage, the responses will be genuinely subversive or vivid enough to make us remember the people and traditions they commemorate and the deaths to which they bear...