...: 160), who claims that Rushdie ‘‘has created a language of his own that transcends any English that has been spiced with Indian words and expressions Bharucha (ibid.: 161) asserts specifically that ‘‘Rushdie has liberated Indian EnglishfromitsfalsePuritanism, its fake gentility Clark Blaise (1981...

... a soldier, Captain John Por- teous, who had received an overlenient sentence for the murder of a prisoner. Referring repeatedly to “the settled purpose of the rioters” (ibid.: 68) and “the settled purpose of soul with which they sought [Porteous’s] destruction” (ibid Scott (ibid.: 59 – 60) says...

... became “lost in the world of men” (ibid By the end of chapter 2, Slothrop does escape Pointsman’s machinations to chase for himself the secrets of the rocket, his past, and the official inter- ests in both. He encounters anarchists who celebrate the war’s dissolution of borders and laws, eager...

... constitutes reality” (ibid.: 2). Faced with twenty-first-century chal- lenges — the prospect of ecological catastrophe, the increasing technologiza- tion of the lifeworld, and so forth — there is a sense in which, so say The Speculative Turn’s editors, the antirealist position “now actively limits...

... anachronies since they produce no tension, or “friction,” between the narrational and the narrated sequences. For Segal (ibid “a chronological narrative is, in principle, as legitimate and interesting an object of analysis as any other (e.g., anachronic) narrative type.” The list of critics who have...

... that are the resources peo- ple use to construct their own stories” (ibid.: 14). This ties in with our view of the two-way interaction between narrative templates circulating in a com- munity and personal narratives told by people, including literary authors.1 Frank refers to Harrington’s Cure Within (2008...

... in this way There is a connection between ‘‘short’’ and ‘‘impressionist The short story captured what the painter Jacques Raverat called in a let- ter to Woolf ‘‘splashessplashes in the outer air in every direction’’ (cited in Q. Bell Painting’s atemporal quality, which Quentin Bell (ibid.) qualifies...

... narrative would not be useful,” he says (ibid.: 41). He takes particular issue with those who hold that a writer is an inappropriate subject for a biography on the grounds that most writers lead lives of thought rather than of action. There is no reason, Johnson maintains, why...

... actually spoken in the everyday contexts of their production (see, in particular, ibid.: Bakhtin a b: Regard- ing the conception of lyric poetry as private, emotionalized, and highly personal—in short...

... choose? Weight or lightness?” (ibid.: 5). This technique of questions and answers is soon reapplied to the narrated world and action.3 The narrator tells the story of the meeting and first passionate involvement between two protagonists, Tomas and Tereza, presenting their encounter as a conflict...

... but precisely to insist on their inseparability. Sedgwick argues for an understanding of emotions and affects as operating synchronically and holistically rather than sequentially, as they are understood to operate by “the ‘commonsense’ consensus of current theory” (ibid.: 112). In this way she...

... of taste and genius had come’’ by creating a ‘‘more pleasing species of erudition they also orientated literary history toward a ‘‘barren antiquarianism In a brief but informed discus- sion of contemporary historiographical practices, he (ibid.) describes how his work allowed the ‘‘age of taste...

... can attempt to describe it; but description itself is not science and becomes so only when it is integrated within a general theory. It is a science which can be structural, not criticism” (ibid.: 31). In order to become a “science,” literary scholarship therefore needs to create a systematic...

... of speaking in that which is the most con- strained1 Verse, Dryden (ibid.: 89) held, is ‘‘an Art which appears; but it appears only like the shadowings of Painture, which being to cause the rounding of it, cannot be absent Shadowing is a technique, a device of art, but in its use ‘‘the hand of art...

... and essentialism, since it is based on the belief that objects exist in a ‘‘unitary, atemporal way’’ prior to being temporarily made strange by the artist (ibid.: 71).3 These charges against estrangement are part of a larger critique of Shklovsky’s Formalist school for what has been long seen as its...

... third-person fictional narratives) in the way they represent the minds of characters: “the purportedly unique capacity of fic- tional narratives to represent the ‘I-originarity’ of another as a subject, in [Ka¨te] Hamburger’s parlance” (ibid “I-originarity” is a technical term that Herman does...

... that there is “the possibility of the pres- ence of two voices in first-person narrative, the voice of the narrating I and a voice that does not belong to any character.” He calls the second voice “the impersonal voice of the narra- tive” (ibid.: 139) and maintains that the “I, Ishmael” of Moby-Dick “does not exist before...

... . . . the gazer and to be communing already with a sky which beholds an earth entirely at rest” (ibid.: 25). For Mrs. Ramsay, the regular beat of the waves predicted (under certain con- ditions) the destruction of the island, whereas for Lily it is the sense of dis- tance that suggests, metonymically...

...): “The beginnings of confusion with us in England are at present feeble enough; but with you, we have seen an infancy still more feeble, growing by moments into a strength to heap mountains upon mountains, and to wage war with Heaven itself ” (ibid.: 154). France poses an existential threat to England...

... wisdom challenges accepted nomoi (conventions, laws), since free inquiry involves suspending inquirers’ commitments to publicly accepted beliefs (ibid.: 6 – 7).13 For this reason, if Aristophanes is right, poetry “completes the completely theoretical wisdom by self-knowledge” (ibid.: 7). As in Clouds...