.... The article also poses the question of what it would mean to approach literary artifacts as forms of language-in-use similar to talk, finding inspiration in Proust's Recherche for elaborating an answer to that question. Attention to nonsemantic, pragmatic, indexical features of talk (habits of pronunciation...

... are established, and the novel does not resolve the question. Nothing dramatizes the circuitous, inane nature of polite conversation, in which the verbal “-thing” is used as a block, as though to willfully empty a conversation of significant information. Language becomes convoluted, self-referential...

...; it is a mode of interlingual writing that suspends the typical transaction of translation permanently between languages. Hemingway accomplishes this by using Spanish as a laboratory for his overlooked experiments in modernist mistranslation, which I trace through his development of cubist techniques...

... of events that never (but could, maybe even should have) happened.9 Using the language of the supernatural, Waverley tells the story of what the novel could have been under different circumstances: had the 1745 uprising suc- ceeded, or had Scott been less pedantic about historical accuracy...

...- ined community. The national novel, for Anderson, has a quasi-pedagogical or performative function: it creates an affective fraternity, a “community of those who pick up the book and accept the readerly role that it offers” (Culler 29). It is in this respect that the possibility of a global novel...

... of the genre's biographical pattern) culminates in a surreal encounter that Coetzee's readers have claimed limns a restorative justice or a utopic futurity. But these interpretations ignore the text's insistence on a silence that overwhelms language, the specter of mass death, and a summative darkness...

... for property relating to “house and land” directly produces literary plotters' “sense, sensibility, wit, [and] accomplishments” (238). Imbued with an uncanny—one might even say “metaleptic”—sense of the ins and outs of social plotting, these literary characters' savoir faire is cast as formal agency, thereby...

... at its best shows us the extent to which our experience of the world is itself enriched by its mediation in language—the point at which Elder “reads” the landscape in terms of Frost’s poetry rather than the other way around (Reading). This dynamic becomes at once more evident and more complicated...

...Nasser Mufti Can the novel, so adept at making sociopolitical cohesiveness legible, help us understand society's dissolution? If novelistic writing makes national unity conceivable, often in conjunction with the institutions of national literature, language, and region, can this same literary form...

...Vanessa Smith “Toy Stories” takes Maggie Tulliver's “grinding and beating” of her broken doll in The Mill on the Floss as a starting point for thinking about manifestations of childish distress, rage, and shame in the nineteenth-century novel. Using Melanie Klein's play theories, it argues...

... and his sense of language as an object of mischievous use (and misuse), rather than as a source of unsatisfied yearning. If the modernist celebration of degradable, time-bound vernaculars is excluded from McCrea's impeccably constructed study, it is ultimately because the Irish case—exemplified by Ó...

... silences and traumatic reawakenings. For Lee, this means reflections on dimensions of Asian American racialization such as speech, language, and US cultural belonging. For Yamashita, this means a long-standing critical discourse on multiethnicity and multiple diasporas. For Kingston, this means her...

...: the world's moral order, and the language used to relate or justify that order. On the one hand, we have fiction's materiality, which consisted of an unprecedented amount of language designed-through narrative digressions, densely encoded poetic metaphors, and a dizzying array of characters...

... The critical neglect of this character's name is not surprising, considering Stein's criticism of given names, along with other proper nouns, as conventional uses of language and her insistence that "more and more one does not use nouns" (210). A traditional onomastic study of Gertrude Stein's use...

... language among us we call the Sentient, in distinction from the Vocal. . . . This is carried on by applying our vehicles close to one another and raising certain figures or motions on our outsides which communicate the like to our neighbour and thereby excite in him the same ideas that gave rise to them...

... . . . that there should be no common language between us? . . . How can capital-T Truth not be communicable? That makes no sense to me” (170). Ames prefers the term of “grace” (170), that is, of Christian experience, to Jack’s seeming quest to “be persuaded of the truth of the Christian religion” (171...

..., and that this is an opportunity which may never occur again!” ( Dickens, Old 274 ) Mrs. Jarley's job offer sounds like a sales pitch, which leads Jennifer Wicke to describe her as an “early advertising genius” ( 40 ). Her words echo the language she uses to entice visitors to the exhibition, as in the handbills she...

..., their role in literary history, and their move to open up the novel and literature itself to popular language. A book that uses literary language and other literary devices demands the at- tention of its readers. A novel stands or falls by its use of language, narration, See konora (1806...

... is precisely the opposite: the novel politicizes the spaces and questions that it uses the language of rights to address. In doing so, novels can disarticulate rights from the political theory of possessive individualism and rearticulate them along the outer boundaries of liberal institutions. Between...

... an instrument, the determinate prosthetic of close reading that is familiar to many of us, one that is an outgrowth of the human faculty of language, cultivated by scholarly and/or literary training? Does it matter that the object—text—that the computer reads is not the same as the object—language—that Eve...