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These two special issues focus on estrangement, a concept that pervades twentieth-century literary study and related fields. Estrangement lies at the heart of human experience in art and life: how the familiar is made strange, perceptible, disturbing, as if never before encountered. Also known as defamiliarization or disautomatization, estrangement originated as a form of literary and poetic theory within Russian formalism in 1917 and was elaborated largely through the work of Viktor Borisovich Shklovsky. In essence, estrangement is a method of analyzing the artfulness, rather than the psychological meaning or logical message, of imaginative works of prose and poetry. Each essay in these special issues proceeds from a different perspective. Two essays compare the ideas of Shklovsky with those of equally well-known thinkers--such as Hannah Arendt and Mikhail Bakhtin--regarding freedom and aesthetics. Other essays are historical surveys of estrangement theories and their diasporas during the last century. One contributor considers Diderot's views on art alongside certain modern views on poetry. Another discusses estrangement as seen in the visual artwork of the Russian painter and art theoretician Kazimir Malevich. A third contributor explores estrangement in the work of Dostoyevsky. The special issues end with a previously unpublished interview with Shklovsky, who looks back on a long and troubled career, speaking his mind about literary issues, Communist oppression, and friends and enemies, including Stalin. Contributors. Svetlana Boym, Marietta Chudakova, Jacob Edmond, Caryl Emerson, Michael Holquist, Anna Wexler Katsnelson, Ilya Kliger, Nancy Ruttenburg, Greta N. Slobin, Tatiana Smoliarova, Meir Sternberg, Galin Tihanov, Cristina Vatulescu Meir Sternberg is Professor of Poetics and Comparative Literature at Tel Aviv University. Svetlana Boym is Curt Hugo Reisinger Professor of Slavic Languages and Literatures, and Professor of Comparative Literature, at Harvard University.
Based on the preliminary examination of "Culture and criminality" (specifically anomy, violence and crime) which was the main subject of a December 1980 seminar, of the Scientific Commission of the International Centre for Study and Research in Messina. The preparatory meeting in Messina in Nov. 1980 - the basis of this book.
Real solutions to a hidden epidemic: family estrangement. Estrangement from a family member is one of the most painful life experiences. It is devastating not only to the individuals directly involved--collateral damage can extend upward, downward, and across generations, More than 65 million Americans suffer such rifts, yet little guidance exists on how to cope with and overcome them. In this book, Karl Pillemer combines the advice of people who have successfully reconciled with powerful insights from social science research. The result is a unique guide to mending fractured families. Fault Lines shares for the first time findings from Dr. Pillemer's ten-year groundbreaking Cornell Reconciliation Project, based on the first national survey on estrangement; rich, in-depth interviews with hundreds of people who have experienced it; and insights from leading family researchers and therapists. He assures people who are estranged, and those who care about them, that they are not alone and that fissures can be bridged. Through the wisdom of people who have "been there," Fault Lines shows how healing is possible through clear steps that people can use right away in their own families. It addresses such questions as: How do rifts begin? What makes estrangement so painful? Why is it so often triggered by a single event? Are you ready to reconcile? How can you overcome past hurts to build a new future with a relative? Tackling a subject that is achingly familiar to almost everyone, especially in an era when powerful outside forces such as technology and mobility are lessening family cohesion, Dr. Pillemer combines dramatic stories, science-based guidance, and practical repair tools to help people find the path to reconciliation.
Viktor Shklovsky (1893-1984) was both patriarch and enfant terrible of Formalism, a literary and film scholar, a fiction writer and the protagonist of other people's novels, instructor of an armored division and professor at the Art History Institute, revolutionary and counterrevolutionary. His work was deeply informed by his long and eventful life. He wrote for over seventy years, both as a very young man in the wake of the Russian revolution and as a ninety-year old, never tiring of analyzing the workings of literature. Viktor Shklovsky: A Reader is the first book that collects crucial writings from across Shklovsky's career, serving as an entry point for first-time readers. It presents new translations of key texts, interspersed with excerpts from memoirs and letters, as well as important work that has not appeared in English before.
Rev. ed. of: The Princeton encyclopedia of poetry and poetics / Alex Preminger and T.V.F. Brogan, co-editors; Frank J. Warnke, O.B. Hardison, Jr., and Earl Miner, associate editors. 1993.
The author provides a thorough examination of the theories of Marx and Hayek in the belief that the work of these two thinkers, in their commonalities and differences, successes and failures, contain important indicators of the content of a social philosophy suited to today’s conditions.
For more than two decades now, cognitive science has been making overtures to literature and literary studies. Only recently, however, cognitive linguistics and poetics seem to be moving towards a more serious and reciprocal type of interdisciplinarity. In coupling cognitive linguistics and poetics, cognitive poeticians aim to offer cognitive readings of literary texts and formulate specific hypotheses concerning the relationship between aesthetic meaning effects and patterns in the cognitive construal and processing of literary texts. One of the basic assumptions of the endeavour is that some of the key topics in poetics (such as the construction of text worlds, characterization, narrative perspective, distancing discourse, etc.) may be fruitfully approached by applying cognitive linguistic concepts and insights (such as embodied cognition, metaphor, mental spaces, iconicity, construction grammar, figure/ground alignment, etc.), in an attempt to support, enrich or adjust 'traditional' poetic analysis. Conversely, the tradition of poetics may support, frame or call into question insights form cognitive linguistics. In order to capture the goals, gains and gaps of this rapidly growing interdisciplinary field of research, this volume brings together some of the key players and critics of cognitive poetics. The eleven chapters are grouped into four major sections, each dealing with central concerns of the field: (i) the cognitive mechanisms, discursive means and mental products related to narrativity (Semino, Herman, Culpeper); (ii) the different incarnations of the concept of figure in cognitive poetics (Freeman, Steen, Tsur); (iii) the procedures that are meant to express or create discursive attitudes, like humour, irony or distance in general (Antonopoulou and Nikiforidou, Dancygier and Vandelanotte, Giora et al.); and (iv) a critical assessment of the current state of affairs in cognitive poetics, and more specifically the incorporation of insights from cognitive linguistics as only one of the contributing fields in the interdisciplinary conglomerate of cognitive science (Louwerse and Van Peer, Sternberg).The ensuing dialogue between cognitive and literary partners, as well as between advocates and opponents, is promoted through the use of short response articles included after ten chapters of the volume. Geert Br ne, Katholieke Universiteit Leuven, Belgium; Jeroen Vandaele, University of Oslo, Norway.
The traditional view that the rise of Western theoretical thought in the 1960s and 1970s could be traced back to the Soviet 1920s, once accepted in Russia and the West alike because it directly associated the academic prestige of contemporary Western theory with the intellectual climate of post-revolutionary Russia, is increasingly challenged today. With the gradual retreat in recent years of theory from the high ground of the Western humanities, new work has emerged to suggest unexpected parallels and to undermine others. This book, with contributions from some of the most visible specialists in the field, re-examines the significant transfers, cross-fertilisations and synergies of cultural and literary theory between Russia and the West, from the 1920s through to the present day. It focuses primarily on those tendencies which have made the most significant contribution to critical theory over the last century, and looks ahead at the theoretical paradigms that are most likely to shape the future dialogue between Russia and the West in the humanities.
Joys and Sorrows of Imaginary Persons is a literary approach to consciousness where Donald Wesling denies that emotion is the scandal or handmaid of reason--rather emotion is the co-creator with reason of human life in the world. Discoveries in neuro-science in the 1990s Decade of the Brain have proven that thinking and feeling are wrapped with each other, and regulate and fulfill each other. Accepting this co-creative equality, we reveal a new role for literature, or a traditional role we've repressed: literature as a set of processes in time where we've thought feeling through stories about the lives of imaginary persons. We need these stories in order to practice emotions for when we return to the world from reading. Donald Wesling argues that to be more accurate in our dealings with stories, we require a grammar of this new recognition, where we build up traditional stylistics by a more careful tracking of emotion-states as these are set into writing. The first half of Joys and Sorrows of Imaginary Persons offers a creative stock-taking of the current state of scholarship on emotion, based on wide reading in several fields. The second half gives three focused studies, rich in examples, of emotion as cognition, as story, and as historical structure of feeling.