... by their inscrutability or lack of perceptiveness. Consequently, we may understand the opacity of the later style as embodying stupidity in verbal form while also stupefying readers into the idealistic condition of disinterestedness. However, as a principle of either ethics or art, stupidity remains limited by its...

...—with an all‐too‐real network of violence hard‐wiring them imperceptibly to each other. Beyond the latent dialectic of these disjunct prose episodes, the novel critiques a world “formed” on quite different principles, whose geopolitical systems it confronts on fiction's own resistant verbal terms. To argue...

..., and effects of his prose radically transform the novel form. As a “non-representational” writer ( Surviving 137 ), Green takes as his subject matter the ordinary stuff of life—commonplace language, routine experiences, unremarkable relationships—and, in so reveling in banality, transforms dullness...

... argues, realist plots seal off democratic victories from their characters. Flaubert splits Emma into two aesthetic parts. One form of her imagined being enacts a condensation of the impersonal, teeming sensory fabric of life, the endless atoms of experience her body encounters. This is the verbal triumph...

... imagines is not an actual film but rather an experimental text whose verbal form has been perfectly calibrated, as it were, to make the reader see. The modernist provenance of this representational ideal is crucial: General Compson's reading paradigmatically inscribes a modernist fantasy of language's...

... in migrations essential to world literary culture. Roman Jakobson helps Dalgarno explain Woolf’s achievement. Jakobson distinguishes three forms of translation. “Interlingual” translation—the cross-cultural variety—interprets verbal signs by means of those of another language. “Intralingual...

... model? In place of either of these poles, I extended Gilles Deleuze's notion of fiction as a form of “symptomatology” by focusing not on the revelation of the symptom's “latent content” or its lack thereof but instead on what Slavoj Žižek has described as its elaboration of that content...

... Sketch Book of Geoffrey Crayon when revised and republished with John Murray's house. One might expect a more cosmopolitan version of the American text, diminishing its local frames of reference for the verbal currency of a better-educated European public. But the transatlantic transformation means...

... 37 : 3 ( 1992 ): 505 –16. Carby , Hazel V. Reconstructing Womanhood: The Emergence of the Afro-American Woman Novelist . New York: Oxford UP, 1987 . Cassirer , Ernst . Philosophy of Symbolic Forms . Trans. Ralph Manheim. 3 vols. New Haven: Yale UP, 1953 . Christian...

..., and the Making of American Literature in the Nineteenth Century (Cambridge: Cambridge UP, 2007), pp. 210, cloth, $87.00. Formalism, Experience, and the Making of American Literature in the Nineteenth Century is an original and bracing contribution to the current effort to reconsider questions of form...

... ascribes to Darl-cerebral retreat, cubist aestheticizing, verbal posturing, alliterative and pictorial play-almost reads as a catalogue of the form and functioning of the grand metaphorical conceit of seeing and sawing and seesawing, the irony of which is not so much protective as constitutive...

... to adapt literary history and form to the conditions of globalization that make them seem irrelevant, Moretti asks us to abandon our obsessive focus on the same canonical texts—to start instead considering how certain forms of literature made the quantum leap from nation to world and what formal changes...

... is to show how “the fiction of private anarchy” (24) subverts nihilist tendencies in order to expose new forms of community. In these novels, sociopolitical negativity, or what Buchholz calls “verbal voiding,” “becomes a necessary step in opening up space to imagine a togetherness that transcends ideas...

... pairing the modesty of Victorian representational standards that restrained the British novel during that era with the later Hollywood Production Code system, which attempted to rein in the new medium of film. She puts these two forms of censorship together in order to claim, as the title of her book...

.... 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...

... with existing imperialist structures or military forms of control”: verbal enactment has “a scale all its own.” * * * We must end this introduction on a sad note. Laura Marcus, who was to have contributed an essay to the issue, passed away on September 22, 2021. She was not only one of the most...

... he now covets is access to a true form of nobility—no longer noblesse de sang, noblesse d’épeé, or noblesse de robe—but rather, as in La vie de Marianne, “noblesse de . . . ​cœur” (407), and this new station exacts the kind of verbal (literary) training Mr. Williams can boast of.24 Once...

... theorized in terms of radio “transmission” by Douglas Kahn as a way of reconciling verbal “inscription” with sound “vibration”: “Figures of transmission combined aspects of both vibration and inscription, fusing the spatial features of vibration with the objecthood and corporeality of inscription...

... models that inculcated forms of distinction and discernment necessary for self-regulating subjects. 1 Both genres revive interest in small talk from outside its more familiar literary precinct within the novel of manners (see, e.g., Spacks ; and Sweeten ). Nella Larsen's 1929 novel Passing...

... and Liapunov Vadim. Austin: U of Texas P, 1990 . 4 -256. ———. “The Problem of Content, Material, and Form in Verbal Art.” Trans. Kenneth Brostrom. Art and Answerability: Early Philosophical Essays by M. M. Bakhtin . Ed. Michael , Holquist and Liapunov Vadim. Austin: U of Texas P, 1990 . 257 -325...