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There are thousands of books that represent the Holocaust, but can, and should, the act of reading these works convey the events of genocide to those who did not experience it? In Textual Silence, literary scholar Jessica Lang asserts that language itself is a barrier between the author and the reader in Holocaust texts—and that this barrier is not a lack of substance, but a defining characteristic of the genre. Holocaust texts, which encompass works as diverse as memoirs, novels, poems, and diaries, are traditionally characterized by silences the authors place throughout the text, both deliberately and unconsciously. While a reader may have the desire and will to comprehend the Holocaust, the presence of “textual silence” is a force that removes the experience of genocide from the reader’s analysis and imaginative recourse. Lang defines silences as omissions that take many forms, including the use of italics and quotation marks, ellipses and blank pages in poetry, and the presence of unreliable narrators in fiction. While this limits the reader’s ability to read in any conventional sense, these silences are not flaws. They are instead a critical presence that forces readers to acknowledge how words and meaning can diverge in the face of events as unimaginable as those of the Holocaust.
In this pathbreaking book, King-Kok Cheung sheds new light on the thematic and rhetoncal uses of silence in fiction by three Asian American women: Hisaye Yamamoto, Maxine Hong Kingston, and JoyKogawa. Boldly articulating the unspeakable, these writers break the silence imposed by families or ethnic communities and defy the dominant culture that suppresses the voicing of minority experiences. Yet at the same time, they demonstrate how silences—voiceless gestures, textual ellipses, authorial hesitations—can themselves be articulate. Drawing on theoretical works on women's writing, on ethnicity and race, and on postmodernism and history, Cheung takes issue with Anglo-American feminists who valorize speech unequivocally and with revisionist Asian American male critics who attempt to refute Orientalist stereotypes by renouncing silence. She challenges Eurocentric views of speech and silence as polarized, hierarchical, and gendered, and proposes an approach to Asian American literature which overturns the "East-West" or "dual personality" model. Yamamoto, Kingston, and Kogawa interweave speech and silence, narration and ellipses, autobiography and fiction as they adapt and recast Asian and Euro-American precursors. Drawing freely from both traditions, they reinvent the past by decentering, disseminating, and interrogating authority-but not by reappropriating it. A fresh and subtle response to issues relating to cultural diversity, Articulate Silences will be important reading for scholars and students in the fie,4s of literary theory and criticism, women's studies, Asian American studies, and ethnic studies.
In this landmark book, leading international scholars from North America, Europe and the UK offer a sustained critical attention to the concept of silence in Joyce's writing. Examining Joyce's major works, including Ulysses, Portrait of the Artist as a Young Man and Finnegans Wake, the critics present intertextual and comparative interpretations of Joyce's deployment of silence as a complex overarching narratological strategy. Exploring the many dimensions of what is revealed in the absences that fill his writing, and the different roles – aesthetic, rhetorical, textual and linguistic – that silence plays in Joyce's texts, James Joyce's Silences opens up important new avenues of scholarship on the great modernist writer. This volume is of particular interests to all academics and students involved in Joyce and Irish studies, modernism, comparative literature, poetics, cultural studies and translation studies.
Silences, taboos, and "public secrets" carry their own deep meaning about Argentina's painful legacy of repression.
Normative texts are meant to be highly impersonal and decontextualised, yet at the same time they also deal with a range of human behaviour that is difficult to predict, which means they have to have a very high degree of determinacy on the one hand, and all-inclusiveness on the other. This poses a dilemma for the writer and interpreter of normative texts. The author of such texts must be determinate and vague at the same time, depending upon to what extent he or she can predict every conceivable contingency that may arise in the application of what he or she writes. The papers in this volume discuss important legal and linguistic aspects relating to the use of vagueness in legal drafting and demonstrate why such aspects are critical to our understanding of the way normative texts function.
This book explores early new critical debates about intention, tracing how and why intention was dismissed across much humanities scholarship, and how it can be revisited and made relevant as a key formative, evaluative, and ethical concept. The author argues that the academic disinterest in intention occurred simultaneously as genre criticism and later the rhetorical interest in genre came into its own. Genre became a way to simultaneously elide and naturalize intention. The book elaborates on the pedagogical, ethical, and empirical consequences naturalizing intention through genre has had for rhetorical studies and it offers a new term, “curations” to identify discursive forms, actions, and intentions working simultaneously. Finally, he also examines the gap between the humanities and STEM fields and shows specific ways scientists and engineers have called for the humanities to become more invested in intention as both a critical and an operational concept. This book will be of interest to students and scholars of discourse studies and critical discourse analysis, rhetoric and professional communication, including those in fields such as medicine, engineering, STS and business studies.
Over the last half century scholars from a range of disciplines have attempted to theorise silence. Naively we tend to think of silence negatively, as a lack, an emptiness. Yet silence studies shows that silence is more than mere absence. All speech incorporates silence, not only in the gaps between words or the pauses that facilitate turn taking, but in the omissions that result from the necessary selectivity of communicative acts. Thus silence is significant in and of itself; it is a sign that has socially-constructed (albeit context -dependent and ambiguous) meanings. To date, studies of science communication have focussed on what is said rather than what is not said. They have highlighted the content of communication rather than its form, and have largely ignored the gaps, pauses and lacunae that are an essential, and meaningful, part of any communicative act. Both the sociology of science and the history of science have also failed to highlight the varied functions of silence in the practice of science, despite interests in tacit knowledge and cultures of secrecy. Through a range of case studies from historical and contemporary situations, this volume draws attention to the significance of silence, its different qualities and uses, and the nature, function and meaning of silence for science and technology studies.
Traditions of Writing Research reflects the various styles of work offered at the Writing Research Across Borders conference. This volume, like the conference that it grew out of, will bring new perspectives to the rich dialogue of contemporary research on writing and advance understanding of this complex and important human activity.
A commonly-held model of the doctor-patient relationship casts it as a subject/object relationship: broadly the patient is a 'text', and the doctor the reader or interpreter of that text. However, recent critical models preset notions of text and reader as complex and unstable, and the relationship of doctor and patient as similarly complicated. Explorations of psychiatry and 'madness' by critics such as Michel Foucault present a further background of complex ideological change. In The Patient as Text, Petter Aaslestad explores selections from over a century of psychiatric notes from Gaustad Hospital, Norway against this critical background, exploring the impact of ideological and medical changes surrounding the psychiatric clinical relationship and psychiatric professionals as constructors of narratives. This book will be of interest to researchers in the medical humanities, psychiatric practitioners, and those with an interest in medical history and critical theory.
Panepiphanal World is the first in-depth study of the forty short texts James Joyce called “epiphanies.” Composed between 1901 and 1904, at the beginning of Joyce’s writing career, these texts are often dismissed as juvenilia. Sangam MacDuff argues that the epiphanies are an important point of origin for Joyce’s entire body of work, showing how they shaped the structure, style, and language of his later writings. Tracing the ways Joyce incorporates the epiphanies into Dubliners, A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake, MacDuff describes the defining characteristics of the epiphanies—silence and repetition, materiality and reflexivity—as a set of recurrent and inter-related tensions in the development of Joyce’s oeuvre. MacDuff uses fresh archival evidence, including a new typescript of the epiphanies that he discovered, to show the importance of the epiphanies throughout Joyce’s career. MacDuff compares Joyce’s concept of epiphany to classical, biblical, and Romantic revelations, showing that instead of pointing to divine transcendence or the awakening of the sublime, Joyce’s epiphanies are rooted in and focused on language. MacDuff argues that the Joycean epiphany is an apt characterization of modernist literature and that the linguistic forces at play in these early texts are also central to the work of Joyce’s contemporaries including Woolf, Beckett, and Eliot. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles An Open Access edition of this book was published with the support of the Swiss National Science Foundation.