Studies in the Literary Imagination最新文献

{"title":"The Ekphrastic Visual / Verbal Game of Mirroring in Thomas Pynchon’s The Crying of Lot 49","authors":"Yosra Dridi","doi":"10.1353/sli.2020.a895910","DOIUrl":"https://doi.org/10.1353/sli.2020.a895910","url":null,"abstract":"","PeriodicalId":390916,"journal":{"name":"Studies in the Literary Imagination","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122416573","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":"Kurt Vonnegut’s Slaughterhouse-Five A Reappraisal, or, “There is ‘Something’ Intelligent to Say About a Massacre.”","authors":"Sadok Bouhlila","doi":"10.1353/sli.2020.a895913","DOIUrl":"https://doi.org/10.1353/sli.2020.a895913","url":null,"abstract":"","PeriodicalId":390916,"journal":{"name":"Studies in the Literary Imagination","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125364619","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":"American Postmodern Metafiction Through the (Un)looking Glass: “Cartesian Sonata” by William Gass and Whistlejacket by John Hawkes","authors":"Saloua Karoui-Elounelli","doi":"10.1353/sli.2020.a895914","DOIUrl":"https://doi.org/10.1353/sli.2020.a895914","url":null,"abstract":"","PeriodicalId":390916,"journal":{"name":"Studies in the Literary Imagination","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133983257","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":"“Some Black, Cracked Mirror, Barely Surviving Its Own Sharp Edges”: Steve Erickson’s Shadowbahn and the “Twinned,” Fractured Nature of Contemporary America","authors":"David Buehrer","doi":"10.1353/sli.2020.a895909","DOIUrl":"https://doi.org/10.1353/sli.2020.a895909","url":null,"abstract":"","PeriodicalId":390916,"journal":{"name":"Studies in the Literary Imagination","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132489529","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":"Poetic Mirrors and the Violence of the Self-Reflexive in Post-Colonial Poetry","authors":"Noureddine Fekir","doi":"10.1353/sli.2020.a895912","DOIUrl":"https://doi.org/10.1353/sli.2020.a895912","url":null,"abstract":"","PeriodicalId":390916,"journal":{"name":"Studies in the Literary Imagination","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134158655","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":"Magic Mirrors and the (Im)-Possibility of Cross-Cultural Encounters in Salaman Rushdie’s The Enchantress of Florence","authors":"Nejib Souissi","doi":"10.1353/sli.2020.a895911","DOIUrl":"https://doi.org/10.1353/sli.2020.a895911","url":null,"abstract":"","PeriodicalId":390916,"journal":{"name":"Studies in the Literary Imagination","volume":"427 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123479143","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 Trope of the Mirror in Contemporary Experimental Literature","authors":"Saloua Karoui-Elounelli","doi":"10.1353/sli.2020.a895908","DOIUrl":"https://doi.org/10.1353/sli.2020.a895908","url":null,"abstract":"","PeriodicalId":390916,"journal":{"name":"Studies in the Literary Imagination","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128277832","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":"Colors of Consciousness in the Novels of Iris Murdoch","authors":"R. Moden","doi":"10.1353/sli.2018.0014","DOIUrl":"https://doi.org/10.1353/sli.2018.0014","url":null,"abstract":"“There’s extraordinary electrical power, joy, variety and difference one can have simply by thinking about colour,” Iris Murdoch said in a 1993 interview for Modern Painters (“Beautiful” 50). Her sustained scrutiny of color was an essential aspect of her complex search for a synesthetic form of communication which could more accurately render consciousness. Murdoch’s highly distinctive color rhetoric emerges from a complex fusion of many influences, including Plato’s description of color in Timaeus and Critias as “a flame which emanates from every sort of body, and has particles corresponding to the sense of sight”;1 Rainer Maria Rilke’s thoughts regarding the colors of Paul Cézanne, which, Rilke claims, have a favorable moral and spiritual effect on the perceiver (see Murdoch, Metaphysics pp. 246–47);2 Murdoch’s intellectual discourse with the color theorist Denis Paul;3 and the vividly colored imagery of her close friend the artist Harry Weinberger, whose bold, sensual, and elemental paintings permeate Murdoch’s novels.4 Color is deployed by Murdoch both realistically and expressionistically to produce a more truthful rendition of the experience of being in love: to convey love’s agony and ecstasy, its delusions and its flashes of clarity. Color also helps Murdoch to portray the vital importance of loving attention to the external world. Although moral progress is shown to be extremely difficult to achieve, Murdoch reveals that contemplation of the colors of external reality and their healing, refining, and stimulating impact on inner consciousness may facilitate a moral step forward. Murdoch’s early explorations of color are most fully realized in The Sandcastle, in which an array of colors is invoked to render the inner psychology of characters. Anne Rowe observes that the first meeting of the schoolmaster Bill Mor and the artist Rain Carter, who are soon to fall in love, is accompanied by “a riotous fusion of colours” which “evokes each character’s primitive sexual attraction for the other, replicates the shock of new emotions, and evokes the dangerous energy being released that will have devastating consequences for Mor, his wife and children, and Rain herself” (Iris 86). Rowe also identifies the “various shades of a lurid green” which appear later in the novel to convey Mor’s “sickening guilt”","PeriodicalId":390916,"journal":{"name":"Studies in the Literary Imagination","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122867370","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 Bell and The Time of the Angels: The Philosophy of Love and Virtue in Iris Murdoch’s Ecclesiastical Fiction","authors":"Farisa Khalid","doi":"10.1353/sli.2018.0017","DOIUrl":"https://doi.org/10.1353/sli.2018.0017","url":null,"abstract":"In his study of Iris Murdoch’s 1958 novel The Bell, Peter Edgerly Firchow considers the symbiotic merits of both Murdoch’s philosophy and her fiction: “it is not necessary to delve first into Murdoch’s philosophical work before one reads her fiction,” Firchow observes. “A good argument can be made that it is better to start with the fiction even if one’s ultimate aim is to understand the philosophy, since the fiction is, almost explicitly at times, presented as a testing ground for the philosophy—hers, or for that matter, anyone else’s” (158). Firchow situates Murdoch in the European tradition of philosopher-novelists, which includes Johann Wolfgang von Goethe, Leo Tolstoy, Fyodor Dostoyevsky, and Jean-Paul Sartre, who use the arena of fiction as a moral testing ground where characters are placed on a chessboard to experience how a system of idealized behavior would manifest itself in actuality:","PeriodicalId":390916,"journal":{"name":"Studies in the Literary Imagination","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123203038","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":"“What a fuss about probably nothing”: Iris Murdoch’s Ordinary Queerness","authors":"D. Fine","doi":"10.1353/sli.2018.0016","DOIUrl":"https://doi.org/10.1353/sli.2018.0016","url":null,"abstract":"In his introduction to Fear of a Queer Planet, Michael Warner defines the word queer in terms of its opposition to the ordinary. Queer, he writes, “rejects a minoritizing logic of toleration or simple political interest-representation in favor of a more thorough resistance to regimes of the normal” (xxvi). This formulation, while essential in its challenge to bourgeois heteronormativity, positions Queer Studies in an adversarial relationship to the everyday. By virtue of its critical distance from the normal, Warner’s sense of queer calls a host of traditional concepts—such as the individual, love, and goodness—into question. In this context, it is not surprising that Iris Murdoch’s impact on Queer Studies has been, to date, negligible. Her moral philosophy and realist fiction appear reactionary in this suspicious light. In particular, her association with a sexless Platonism and censure of poststructuralism has distanced her work from both feminism and Queer Studies. I want to challenge this distance: on the one hand, many critics have misread Murdoch’s Platonism, which rests on a robust and far-fromdisembodied account of Eros; on the other hand, literary scholars increasingly echo Murdoch’s concerns regarding critical theory, especially as they pertain to critique’s dominance. With these two shifts in perspective, Murdoch’s particular inflection of queerness comes into view. In what follows, I make the case for Murdoch’s relevance to Queer Studies through an analysis of her thirteenth novel, A Fairly Honourable Defeat.1 I argue that the text’s representation of queer desire challenges regimes of the normal, in Warner’s sense, but does so without endorsing or inducing critical detachment. On the contrary, A Fairly Honourable Defeat illustrates the nearness of the queer and decries theorists’ intellectualized flight from life’s muddle. Through its attentive witness to human frailty, the novel reminds readers of what they already know—but have theorized away—regarding the incoherence of desire, the messiness of attachment, and the centrality of love. To this end, I sketch recent debates in literary studies that have queried critique’s cynical sensibility. With these limitations in mood and mode in mind, I will show how Murdoch’s novel accounts for the dangers of suspicious reading, especially when skepti-","PeriodicalId":390916,"journal":{"name":"Studies in the Literary Imagination","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114557571","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}