Bulletin of the Rocky Mountain Modern Language Association最新文献

{"title":"Les Mots et la Vie chez Rabelais","authors":"Odile Clause","doi":"10.1353/RMR.1974.0016","DOIUrl":"https://doi.org/10.1353/RMR.1974.0016","url":null,"abstract":"La fascination des critiques actuels pour les signes du langage semble familiere au lecteur de Rabelais. C'est probablement pourquoi, quatre siecles apres sa mort, Rabelais n'est plus uniquement l'humaniste, le reformateur que l'on s'est contente de voir pendant si longtemps, mais aussi celui qui a explore le langage avec la meme fougue qu'il a donnee a ses personnages. En le suivant a travers ses jeux et en interpretant certaines de ses images, il est possible de se faire une idee plus precise du fonctionnement du langage rabelaisien et de sa valeur.","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115819053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"L'Equarrissage pour tous: Boris Vian's Reproof of History","authors":"A. Cismaru","doi":"10.1353/RMR.1974.0009","DOIUrl":"https://doi.org/10.1353/RMR.1974.0009","url":null,"abstract":"Now that three decades have elapsed since the invasion of Normandy by Allied forces in World War II; now that patriotic and nationalistic sentiments concerning the event have diminished considerably, if not vanished altogether, it is time, perhaps, to look back at an early account of the fateful military action which led to the liberation of France. It is time, also, because the author of this account, although deceased since 1959, is beginning to gain more and more in reputation, here and abroad. Although in his own lifetime only the avant-garde literary elite paid attention to this obscure novelist, playwright, journalist, pamphleteer, songwriter, ballet and opera composer, slightly existentialist and overly pataphysician mystifier and jester, today he is enjoying no less than a legend on the Continent, his books are being translated in this country, and there is little doubt about the literary validity of his work. While some of his output is as dated as his popular songs, and his violent rejection of bureaucracy, militarism, and clericalism is repugnant to many, his outspokenness and predilection for paradox and mystification are beginning to earn more and more the appreciation of a contemporary public better prepared by the vogue of the Anti-Theatre, a school for which Vian had played the role of precursor.l Since he is no longer the idol of a small literary coterie,2 his depiction of D-Day from the vantage point of an (almost) eye-witness has, in addition to its highly humoristic quality, a pertinence of appeal to the present anti-war generation all over the world.","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124824522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Re-Populating \"The Deserted Village\"","authors":"Michael J. Wenzl","doi":"10.1353/RMR.1974.0014","DOIUrl":"https://doi.org/10.1353/RMR.1974.0014","url":null,"abstract":"\"His mind resembled a fertile, but thin soil.\" This was Boswell's opinion of Goldsmith, and though Johnson urged that he be remembered for his virtues rather than his faults, the verdict has pretty well stood.1 Goldsmith was the odd member of the circle of interesting types that gathered around Johnson, and though he was no less interesting than the rest, he was considered a second-class intellectual citizen. He was chided for not being a systematic thinker, for being overly concerned with \"imaginary consequence,\" and for not having an especially large commitment to truth. The impression that comes down to us is of a bumbling, erratic man—a man with little disposition toward logic, unsystematic in his life and his thought, the perfect picture of the incompetent misfit who would have perished were it not for the concern of his friends, especially \"the Great Cham of Literature.\" But as an artist, the impression is certainly different. The same praise paid by Johnson to Gray might also be said to apply to some of Goldsmith's productions: he wrote few works which survive, but those which we have are excellent. The Deserted Village\" is such a work. That a man so disorganized and unsystematic in his personal life might rise to heights of literary organization is demonstrated by the treatment The Deserted Village\" has received from subsequent critics. It has not been neglected by those who admire the coherence and logical progression of its structure, and it has been upon its logical structure that the most informed studies have been based. One such study has been done by Richard Eversole in which he concentrates on what he calls the \"oratorical design\" of the poem. In Eversole's view, Goldsmith's primary poetic problem in composing \"The Deserted Village\" was the effective presentation of controversial material. Goldsmith was aware that the views he was espousing in the poem were controversial, and that he would need the most oratorically effective presentation. To meet this difficulty, he chose the form of the classical oration. An examination of the poem will reveal that it falls into the traditional seven divisions of the classical oration: exordium, narratio, propositio, confirmatio, reprehensio, and peroratio.2 Ricardo Quintana takes what is perhaps a more useful approach to the poem when he suggests that the structure of \"The Deserted Village\" is that of an argument. He proceeds through the poem, section by section, and demonstrates how the argument develops. In the course of his study, he does nod in passing to the idea that in this poem the logical and the poetical","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117031106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Femmes Angéliques, Femmes Diaboliques: Une Etude Du Lys Dans La Vallée De Balzac","authors":"Linda P. Cypres","doi":"10.1353/RMR.1974.0017","DOIUrl":"https://doi.org/10.1353/RMR.1974.0017","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"142 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115630220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Grail Quest: Imagery and Motif in the Episode at the Cave of Montesinos in Don Quixote","authors":"B. Tracy","doi":"10.1353/RMR.1974.0007","DOIUrl":"https://doi.org/10.1353/RMR.1974.0007","url":null,"abstract":"From the title to Chapter XXII, Book II, of The Ingenious Gentleman Don Quixote De La Mancha, the reader is told that the episode of the Cave of Montesinos takes place in the heart of La Mancha.1 Don Quixote's descent into the underworld is related to Sancho Panza and the cousin in Chapter XXIII in the form of a dream vision, which Cervantes tells us in the title is \"to be regarded as apocryphal.\" The episode of the Cave has aroused much speculation in the criticism of Don Quixote, but it has retained its ambiguity and mystery for two main reasons: 1) The episode excludes Sancho and places Don Quixote in a passive posture, thus eliminating the regular portrayal of character through action and contrast; 2) the symbolic content of the vision (the actual scene of the crystal palace, the characters, and the artifacts) has been placed in the background and the figure of Dulcinea has been placed in the foreground, thus diverting our attention to Don Quixote's encounter with the lady of his heart. This paper proposes to establish the scene within Don Quixote's dream as analogous to, if not identical with, the scene of the Grail Quest, which has its literary genesis in the twelfth and thirteenth century French and German romances. No attempt is made to prove Cervantes' conscious familiarity with the Grail sources; but it is assumed that he would have known them either directly or indirectly through his wide reading of the chivalric romances which he ostensibly parodies in his novel. If it can be shown that he considered the Grail Quest as an important and usable motif in a novel which pretends to parody such motifs, then the pretension of satire must be viewed in an ironic light to the degree to which the Grail Quest is revived for serious, not just parodie, reasons. A brief sampling of the criticism will help to clarify for us the importance of the episode at the Cave, as well as to point out the interpretative confusion which continues to cluster around it. Miguel de Unamuno recognizes that the episode occurs \"in the heart of La Mancha,\" and intimates that the event is meaningful in its projection of","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"186 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132401589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Timeless Moments: The Incarnation Theme in Little Gidding","authors":"M. Clark","doi":"10.1353/RMR.1974.0011","DOIUrl":"https://doi.org/10.1353/RMR.1974.0011","url":null,"abstract":"In Little Gidding T. S. Eliot not only sustains the remarkable interweaving of theme and symbol but brings to climax and resolution the whole complex of patterns which comprises the Four Quartets. In this paper, I examine the incarnation theme-surely the central theme of the poem, though little examined by Eliot's critics-to show the richness and complexity of the theme itself. As a corollary, I should be able to show some of the richness of the poem as climax, summary, and resolution of the Quartets, The poet has apparently come to the rebuilt chapel at Little Gidding to meditate and pray. The meditation begins with a variation on the theme of time and timelessness that has been so prominent in the earlier poems. The first two words present the basic paradox that will be developed: \"Midwinter spring is its own season.\" One imagines a kind of January thaw. But the poet insists on the literalness of midwinter: '\"he brief sun flames the ice, on pond and ditches / In windless cold that is the hearts heat.\" He insists also on the paradox: 'This is the spring time / But not in time's covenant.\" The only blossom is on the hedgerow, \"blanched for an hour with transitory blossom / Of snow.\" All this flowing brightness-\"no wind, but pentecostal fire / In the day-time of the year-\" is both a \"glare that is blindness\" and a glow that \"stings the dumb spirit\"; in it the \"soul's sap quivers.\" The poet has already told us that the season is \"suspended in time.\" The paradoxical promise of the brightness of this midwinter spring gets epitomized in the blossom image, because the image is another way of reinforcing his basic paradox and of negating time: \"If you came this way in May time, you would find the hedges / White again, in May, with voluptuous sweetness.\" No matter the time, it would be the same. You would find that \"what you thought you came for / Is only a shell, a husk of meaning / From which the purpose breaks only when it is fulfilled / If at all.\" The \"way\" is to the shrine itself, of course, but also the broad way of life or quest or jourey that has been suggested throughout the Quartets and that would lead one to seek the sublime at all:","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"126 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127962337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Medievalism in the Romantic: Some Early Contributors","authors":"Garold N. Davis","doi":"10.1353/RMR.1974.0020","DOIUrl":"https://doi.org/10.1353/RMR.1974.0020","url":null,"abstract":"\"What was the romantic school in Germany? Nothing more nor less than the rebirth of the literature of the middle ages....\" At least this was the critical attitude of the German poet Heinrich Heine from his Parisian exile in 1833, and where is there another definition so succinct which captures as accurately the essence of romanticism? In his little book Die romantische Schule from which the above quotation was taken, Heine always refers to romanticism in the past tense-as a thing that had appeared for a moment and was now gone and nearly forgotten. And he generally speaks of it with ridicule, or at best with the cool detachment of a Parisian reporter. How ironic that despite his disparaging remarks Heine himself is now considered by many discerning critics as a romantic poet. A similar attitude and a similar fate has befallen even Goethe, the arch classicist. Although at one time he summed up his opinion of romanticism with the terse statement, \"classicism is health, romanticism is sickness,\" he is more increasingly being referred to as a romantic himself-especially by English and American critics. The sickness to which Goethe referred and which Heine lamented was primarily the romantic longing for the rebirth of the Middle Ages. It is difficult now to understand the disdaining remarks of Goethe and Heine, and such disdain was not limited to German critics. It is hard to understand, because this fascination with the medieval produced some of the most important romantic literature, including work by such artists as Sir Walter Scott and Alfred Lord Tennyson, Chateaubriand and Victor Hugo, Novalis and Ludwig Tieck, Jose de Espronceda, Jose Zorrilla, and Gustavo Adolfa Becquer. It produced the ballad revival (which is still continuing today), the Gothic romance, the renewed interest in the Volksmirchen and folk literature, including the ubiquitous tales of the Brothers Grimm. It produced the revival of the northern mythology culminating in the operas of Richard Wagner. It contributed strongly to the pre-Raphaelite movement in art and the Dante revival. And outside the immediate domain of literature, the fascination with the medieval produced the Gothic revival in architecture and the increased interest in the science of philology. If there were no limitations of time and space a survey such as this would follow the medieval revival through the work of such late romanticists as John Ruskin and William Morris, and on into the present, and include such modem medievalists as J.R.R. Tolkien, Lloyd Alexander, and C. S. Lewis. But here we are more concerned with beginnings than with continuations. Where did it begin?","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1974-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115025496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Gulliver Four: Here We Go Again","authors":"S. Sackett","doi":"10.1353/RMR.1973.0021","DOIUrl":"https://doi.org/10.1353/RMR.1973.0021","url":null,"abstract":"Gulliver Four is multi-leveled and contains a layer of meaning which has hitherto remained recalcitrant to the ingenuity and sensitivity which have been lavished on it.1 Thus, while there are other readings of Gulliver Four which are covalent with that which I am about to present—and others which are not—the coherence of the argument advanced here provides a strong reason for approving some and discarding other previous interpretations of the book, depending on the degree to which they are compatible with it. For example, Wedel's finding of Hobbes and Locke in the Yahoos and Houyhnhnms is congruent with this interpretation and thus acceptable.2 One of the most controversial points about Gulliver's last voyage is whether the Yahoos are human beings. Frye, Landa, and Tuveson have all provided excellent statements of the affirmative position, and it is difficult not to feel that the weight of the evidence lies on their side. But there are objections to be overcome. First, it is true that Gulliver consistently considers the Yahoos as animals. One of the most telling effects in the book is that, although Gulliver first describes them in Chapter I (p. 223 ),3 it is not until Chapter II that he even notices they are human in form (pp. 229-230). Second, he uses","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1973-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116357597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Theme of Être and Paraître in the Works of Agrippa D'Aubigné","authors":"James P. Gilroy","doi":"10.1353/RMR.1973.0020","DOIUrl":"https://doi.org/10.1353/RMR.1973.0020","url":null,"abstract":"The works of the late Renaissance poet Agrippa D'Aubigné were to a great extent inspired by his feelings of hatred and bitterness toward the Catholic Church and the monarchy of the later Valois's. This hatred often expressed itself in the epic vision of a Protestant crusade against tyranny and injustice. Elsewhere, his feelings expressed themselves in the form of savage satire. This satirical inspiration is most prominent in the first three cantos of his epic poem Les Tragiques and in a prose dialogue entitled Les Aventures du Baron de Vaeneste. The structural principle which is constantly at work in these satires is the contrast between being and appearing, between reality and appearances, between être and paraître. Throughout these works, being is synonymous with truth, justice, and the true faith, things which for D'Aubigné are the hallmarks of the Huguenot cause. Appearing, synonymous with falsehood, injustice, and hypocrisy, is looked upon as the main feature of the royal court and of the Church. This dialectical opposition of the two principles is always strictly maintained. Never is there expressed a possibility of reconciliation. Protestantism is always on the side of right, and Church and monarchy on the side of evil. Les Aventures du Baron de Faeneste is a very bitter invective against all the enemies of Protestantism in France. It is a novel written in the form of a dialogue between a Protestant gentleman named Enay (from the Greek eivoct, to be) and a swaggering young Catholic courtier named Faeneste ( from the Greek f œ ??&? <? ?, to seem ) . The dialogue form serves to heighten the antithesis between the points of view of the two main characters. There is confrontation here, but no communication. The work remains completely static; there is no development in the characters' ideas. The author states his theme very simply in the preface, and the following three hundred pages constitute a series of tableaux in which the theme is illustrated again and again. As the author puts it: \"La plus générale différence des buts et complexions des hommes est que les uns pointent leurs désirs et desseins aux apparences, et les autres aux effects.\"1 Faeneste's life, like that of Diderot's neveu de Rameau, is made up of the roles he plays. His inner life is a void which is masked by a shining exterior. His family crest represents a window, and the family motto is: \"Entre comme","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"169 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1973-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114373519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"In Elf Land Disporting\": Sister Carrie in Hollywood","authors":"R. E. Morsberger","doi":"10.1353/RMR.1973.0022","DOIUrl":"https://doi.org/10.1353/RMR.1973.0022","url":null,"abstract":"In the early 1950s, Hollywood showed a sudden interest in filming Dreiser. Paramount made an impressive 1951 movie from An American Tragedy, modernized, greatly shortened, and retitled A Place in the Sun. In the same year, Universal produced Dreiser's short story, \"The Prince Who Was a Thief,\" as an Arabian Nights extravaganza with Tony Curtis in his first starring role. Meanwhile, Sister Carrie was in production at Paramount. William Wyler was to direct the screenplay by Ruth and Augustus Goetz, who had recently adapted Henry James's Washington Square into The Heiress, a successful stage play even more effective as a 1949 Academy Award-winning film directed by Wyler. For Sister Carrie, Wyler persuaded Laurence Olivier, whom he had directed twelve years before in the celebrated movie of Wuthering Heights, to come from Britain to play Hurstwood. The film was released in 1952 as Carrie, presumably because audiences would be puzzled by \"Sister\" and perhaps think it was about a nun. Olivier gave a brilliant performance; and Jennifer Jones as Carrie, Eddie Albert as Drouet, and Miriam Hopkins as Mrs. Hurstwood were effective. With such a combination of talent, the film should have been great or at least distinguished. It was superior to run-ofthe-mill movie fare; but despite some memorable scenes, it fell far short of greatness and not only lost much of the impact of Dreiser's relentless story but turned a grimly naturalistic novel into a romantic soap opera. An examination of how this happened is revealing both as a study of Dreiser and of Hollywood. The basic flaw is in the scenario, and it seems to be the joint responsibility of the Goetzes and of William Wyler. The movie keeps Dreiser's basic story intact, but a number of minor yet significant alterations throughout, plus a falsification of the ending, results in a crucial distortion. This distortion is particularly interesting because the second draft of the scenario is much closer to Dreiser's original. This draft makes some small but radical departures from the book, but the last third of the final version departs even farther from the details as well as from the spirit of Dreiser's naturalism. Essentially, the screenplay, combined with Wyler's direction and the presence of gushy background music drenching many key scenes, romanticizes the story throughout, ennobling both Hurstwood and Carrie and inserting extenuating circumstances for both of them. Wyler's previous credits included such competently slick and genteel movies as Mrs. Miniver (1942) and The Best Years of Our Lives (1946); later he was to direct Roman Holiday, Friendly Persuasion, Ben-Hitr, and Funny Girl. Perhaps the success of their","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1973-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127117196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}