Search Results for say

..., the best chapter in the book-doesn't have anything to do with America or the transatlantic situation at all. Above all, the mandate to fulfil her promise to make the development of realism in English in contact with reform into a story about transatlantic exchange leads-or, we might even say...

... in European clothes" (20), begins to speak. 'And this nlsu,'said Marlow suddenly, 'has been one of the dark places of the earth I runs t!linking qf very old times, when the Ronsnrzs first came Jrere, rrlneteen Izundred years ago-the other clay Light came otil of this naer since -yozr say...

...Samuel Cross This essay closely examines Henry James's notion of “tact”—caution in what one says about others—treating the idea from an ethical perspective. I trace James's ethics of tact through his late The Wings of the Dove , arguing that the author holds himself to certain stringent standards...

... of narrative form, whether the pressure of historical precedent can be evaded, and so on. This essay is an attempt to say how Coetzee uses form, structure, and nonfiction polemic to rethink and redefine the traditional novel for a contemporary readership. In the process, I track Coetzee's engagement...

...Scott J. Juengel This essay sets out to think the novel in the time of catastrophe (which is always, necessarily, to think after catastrophe; which is to say, finally, that I want to think in the chronotope of mass death). I couch this in the Bakhtinian concept of the chronotope—so integral to his...

... confronted with its own uncanny mirror image and the self confronted with a mechanically iterable verbal signifier. Thus the essay begins with the premise that the inhuman is constituted through a subjection to—as Jacques Lacan might say—the itinerary of the signifier. But since this is a fate that could...

... the oppressed other was the signature gesture of postmodern anti-instrumentality; given this tradition, nothing says the end of anti-instrumentality quite like the immediacy of abject, oppressed bodies. I read Oryx and Crake as a novel about the crisis of the anti-instrumental impulse, arguing that its...

..., dwelling on each image—the more we have had to say. Canonization, the vector of less, and close reading, the vector of more, are thus the paradoxical countermovements of the modern literary system. Ideology has also served that system well, sharing with close reading the logic of the physical: to grow...

... that the aesthetics at play in the novel as a genre are instrumental in creating and defining the demos and its limits; moreover, it is precisely at the site of the limit (figured within, say, the liminal space of the colony) that the more radical possibilities of democracy come into focus. The novel set...

.... Such a practice calls attention to aesthetic judgment as a kind of parapolitical space whose discursivity is not derived from what the novel says about the world but rather draws attention to the kinds of judgments that literary discourse is capable of generating as a specific and regional set of utterances...

... imagined around figures such as Dr. O'Connor whose desire, as he says, to “boil some good man's potatoes and toss up a child … every nine months” reinforces his queer identity and annexes the importance of disability in many of the novel's characters. Modernist cultural representations of the pregnant male...

... Dracula views as exotic is the domestic, the home, sexuality, and marriage. Dracula , this is to say, is not about heterosexual marriage threatened or perverted but about its successful fulfillment. If Dracula is written from the perspective of a closeted gay man, as much scholarship contends...

... Parker's incessant interruptions of domestic life that is “too domestic to admit of calculation” have to say about the paper currency crises that dominated most of Austen's writing career? Challenging the nineteenth-century commonplace that “Miss Martineau understands the science” and Austen “plays by ear...

... to certain criteria of reality in much the same way that one says something is “just fiction.” If in its literary investigation of such serious issues as disability, aging, and immigration, Slow Man turns into a reflection on the ontology of fiction, this is not mere metafictional frivolity—for care shares...

... and America. The long essay on Baudelaire, bravely placed in a section called “Language and Reality in the Age of the Novel,” invites us to think about what an age is and how a literary form might have one—and what else might inhabit such an age. “Part of his accomplishment,” Arac says of Baudelaire...

... lie about what the university is supposed to do: preparing students for very specific jobs, et cetera, at the same time that it is impossible now to say what the job market will be in five years. This perpetual lie becomes, I think, the core of the system, meaning that now the work of professors...

...J. MARINA DAVIES MICHAEL LUCEY, Never Say I: Sexuality and the First Person in Colette, Gide, and Proust (Durham: Duke UP, 2006), pp. 336, cloth, $84.95, paper, $23.95. Copyright © Novel Corp. 2007 2007 First Person Sexual MICHAEL LUCEY, Never Say I...

... began with The Misfit of the Family ( 2003 ), on Balzac, and continued with Never Say I (2006), on Colette, Gide, and Proust. In this final volume, Lucey, very much someone in the intersecting fields of sexuality studies and twentieth-century French fiction, subtly but programmatically moves away...

... in on a structured situation of talk—human beings exchanging utterances—but listening not to what people are saying but to how they are saying it , perhaps to features of the sound form such as tone, intonation, accent, stress, or prosody. You are perhaps listening for melody and rhythm, perhaps for register...

... in a chest salvaged from the wreck, accidentally discovers a few Bibles, and so brings both a Bible and bundle of tobacco leaves to his rough-hewn table to experiment for a cure. First, Crusoe tries chewing on the raw, green tobacco leaves, which, he says, “almost stupify’d my Brain” (126). Second...