Text Matters-A Journal of Literature Theory and Culture最新文献_第9页

Roguish Self-Fashioning and Questing in Aleksandar Hemon’s “Everything” 亚历山大·赫蒙《万物》中无赖的自我塑造与探索

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Text Matters-A Journal of Literature Theory and Culture Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.06

Jason A. Blake

引用次数: 0

New Versions of Roguery 新版本的欺诈

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Text Matters-A Journal of Literature Theory and Culture Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.01

Aritha van Herk, V. Polić

{"title":"New Versions of Roguery","authors":"Aritha van Herk, V. Polić","doi":"10.18778/2083-2931.09.01","DOIUrl":"https://doi.org/10.18778/2083-2931.09.01","url":null,"abstract":"This number of Text Matters features papers which explore the changing nature of roguery in literature and film. While the figure of the rogue has earned much literary attention in the past, its present moment is ambiguous, uneasy, even as we live in an age of flagrantly outrageous rogues, so overt that perhaps roguery as a study or a subject is outre because the world is a collection of rogues, and the behavior of rogues is now dramatically public rather than a matter of covert and shameful conduct. Despite this development, rogues still compel attention, curiosity and stories. Note the glut of documentaries, films and books on thieves and criminals, our fascination with those who refuse to follow the rules. And that continuing interest serves as a useful critical measurement and kinesics. Is the figure of the rogue then a historical figure, a cultural construct, a blame magnet or an object of moral suasion? Has it morphed into the trickster, the holy fool, the picaro or the magician? Who is now accorded rogue status, in literature and film? Although rogue literature’s 16thand 17th-century origins are not to be dismissed, the current socio-political circumstances inflecting our evaluation of character have brought to light a new geography of miscreant, a new mapping of what scoundrel-saint can signal. For surely the deception of innocents, the cant of common speech, and the celebration of everyday life and its disappointments and entrapments is at a pinnacle, elevating what was previously dissentient to a commonplace. Early discussions of the figure of the rogue and rogue literature concern themselves with the murkier aspects of the underworld, the criminal or seamier milieu of those who break rules or participate in unlawful acts, Text Matters, Volume 9, Number 9, 2019 http://dx.doi.org/10.18778/2083-2931.09.01","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42405357","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}

引用次数: 0

Liminal Space in J. G. Ballard’s Concrete Island 巴拉德混凝土岛中的Liminal空间

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Text Matters-A Journal of Literature Theory and Culture Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.21

Marcin Tereszewski

{"title":"Liminal Space in J. G. Ballard’s Concrete Island","authors":"Marcin Tereszewski","doi":"10.18778/2083-2931.09.21","DOIUrl":"https://doi.org/10.18778/2083-2931.09.21","url":null,"abstract":"Abstract This article explores the way in which surrealist techniques and assumptions underpin spatial representations in Ballard’s Concrete Island. With much of Ballard’s fiction using spatiality as an ideologically charged instrument to articulate a critique that underpins postcapitalist culture, it seems important to focus on exactly the kind of spaces that he creates. This paper will investigate the means by which spatiality is conceptualized in Ballard’s fiction, with special emphasis on places situated on the borders between realism and fantasy. Ballard’s spaces, often positioned on the edgelands of cities or centers of civilization, can be aligned with the surrealist project as presented not only by the Situationalist International, but of psychogeographical discourse in general. What the various Ballardian spaces—motorways, airports, high-rises, deserts, shopping malls, suburbs—have in common is a sense of existing outside stable definitions or what, following Marc Augé, we would call non-places, which by their definition are disconnected from a globalized image society, thus generating a revolutionary idea of freedom. As these places exist outside the cognitive map we impose on our environment, they present a potentially liberating force that resonates in Ballard’s fiction.","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47028481","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}

引用次数: 0

“Same Old Ed, ... Uncommitted”: BMW Socialism and Post-Roguery in Guy Vanderhaeghe’s Early Fiction “老爱德……“不承诺”:盖伊·范德哈格早期小说中的宝马社会主义和后无赖

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Text Matters-A Journal of Literature Theory and Culture Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.07

Jordan Bolay

{"title":"“Same Old Ed, ... Uncommitted”: BMW Socialism and Post-Roguery in Guy Vanderhaeghe’s Early Fiction","authors":"Jordan Bolay","doi":"10.18778/2083-2931.09.07","DOIUrl":"https://doi.org/10.18778/2083-2931.09.07","url":null,"abstract":"Abstract In this paper I assess how Guy Vanderhaeghe’s early fiction criticizes the class-based and civil movements of post-1960s Saskatchewan through the recurring character of Ed. The protagonist of “Man Descending” and “Sam, Soren, and Ed” from Man Descending, the uncollected “He Scores! He Shoots!” and the novel My Present Age, Ed both condemns and epitomizes the contaminated and seductive gestures of the movements’ influences and enterprises. Vanderhaeghe deploys layers of social criticism: the first comments on the new urban progressive generation—the BMW socialists—while another manifests a counter-criticism that comments on those who challenge social progress, questioning their motives and the credibility of their critique. But what is a BMW socialist? A sociopolitical chameleon hiding behind pretense? Ed describes such a creature as a former “nay-sayer and boycotter” who “intended to dedicate his life to eternal servitude in a legal-aid clinic,” but then “affluence did him in” and now “his ass [is] cupped lovingly in the contoured leather seats of his BMW” (Man Descending 237–38). Vanderhaeghe’s early works criticize the contemporary middle class and progressivist movements of the second half of the twentieth century through this sociopolitical rogue—who in turn becomes a post-rogue. For Ed is ironically undercut by a counter-narrative that is often sub-textual, resulting in a fascinating appraisal of social ignorance, immobility, and unproductivity rather than of any specific ideology.","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49124714","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}

引用次数: 0

The Outlaw Machine, the Monstrous Outsider and Motorcycle Fetishists: Challenging Rebellion, Mobility and Masculinity in Kenneth Anger’s Scorpio Rising and Steven Spielberg’s Duel 亡命之徒机器、怪物局外人和摩托车恋物癖者：肯尼斯·安格尔的《天蝎座崛起》和史蒂文·斯皮尔伯格的《决斗》中的反抗、机动性和男子气概

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Text Matters-A Journal of Literature Theory and Culture Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.05

Kornelia Boczkowska

{"title":"The Outlaw Machine, the Monstrous Outsider and Motorcycle Fetishists: Challenging Rebellion, Mobility and Masculinity in Kenneth Anger’s Scorpio Rising and Steven Spielberg’s Duel","authors":"Kornelia Boczkowska","doi":"10.18778/2083-2931.09.05","DOIUrl":"https://doi.org/10.18778/2083-2931.09.05","url":null,"abstract":"Abstract The paper analyzes the ways in which Kenneth Anger’s Scorpio Rising (1963) and Steven Spielberg’s Duel (1971) draw on and challenge selected road movie conventions by adhering to the genre’s traditional reliance on cultural critique revolving around the themes of rebellion, transgression and roguery. In particular, the films seem to confront the classic road movie format through their adoption of nomadic narrative structure and engagement in a mockery of subversion where the focus on social critique is intertwined with a deep sense of alienation and existential loss “laden with psychological confusion and wayward angst” (Laderman 83). Following this trend, Spielberg’s film simultaneously depoliticizes the genre and maintains the tension between rebellion and tradition where the former shifts away from the conflict with conformist society to masculine anxiety, represented by middle class, bourgeois and capitalist values, the protagonist’s loss of innocence in the film’s finale, and the act of roguery itself. Meanwhile, Anger’s poetic take on the outlaw biker culture, burgeoning homosexuality, myth and ritual, and violence and death culture approaches the question of roguery by undermining the image of a dominant hypermasculinity with an ironic commentary on sacrilegious and sadomasochistic practices and initiation rites in the gay community. Moreover, both Duel’s demonization of the truck, seen as “an indictment of machines” or the mechanization of life (Spielberg qtd. in Crawley 26), and Scorpio Rising’s (homo)eroticization of a motorcycle posit elements of social critique, disobedience and nonconformity within a cynical and existential framework, hence merging the road movie’s traditional discourse with auteurism and modernism.","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49317274","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}

引用次数: 0

The Lynching and Rebirth of Ned Buntline: Rogue Authorship during the American Literary Renaissance 内德·邦特兰的私刑与重生:美国文艺复兴时期的流氓作家

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Text Matters-A Journal of Literature Theory and Culture Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.10

Mark Metzler Sawin

{"title":"The Lynching and Rebirth of Ned Buntline: Rogue Authorship during the American Literary Renaissance","authors":"Mark Metzler Sawin","doi":"10.18778/2083-2931.09.10","DOIUrl":"https://doi.org/10.18778/2083-2931.09.10","url":null,"abstract":"Abstract Though largely unknown today, “Ned Buntline” (Edward Zane Carroll Judson) was one of the most influential authors of 19th-century America. He published over 170 novels, edited multiple popular and political publications, and helped pioneer the seafaring adventure, city mystery and Western genres. It was his pirate tales that Tom Sawyer constantly reenacted, his “Bowery B’hoys” that came to define the distinctive slang and swagger of urban American characters, and his novels and plays that turned an unknown scout into Buffalo Bill, King of the Border Men. But before “Ned Buntline” became a mainstay of the popular press, he had been on his way to becoming one of the nation’s highbrow literary elites. He was praised by the leading critics, edited an important literary journal, and his stories appeared in the era’s most prestigious publications. This study examines how and why “Ned Buntline” moved from prestigious to popular authorship and argues that the transformation was precipitated by one very specific event: in 1846, Edward Z. C. Judson was lynched. A close examination of Judson’s life, writing, and the coverage of him in the newspapers of the day (including the remarkable story of how he survived a lynching) demonstrates that the same issues that led to his lynching also led to his rebirth as a new kind of American author.","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43228937","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}

引用次数: 0

Men Without Fingers, Men Without Toes 没有手指的人，没有脚趾的人

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Text Matters-A Journal of Literature Theory and Culture Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.11

Kit Dobson

{"title":"Men Without Fingers, Men Without Toes","authors":"Kit Dobson","doi":"10.18778/2083-2931.09.11","DOIUrl":"https://doi.org/10.18778/2083-2931.09.11","url":null,"abstract":"Abstract What happens once the rogue rides off into the sunset? This cross-genre essay considers the figure of the rogue’s decline and gradual dismemberment in the face of the pressures of the world. Beginning with the “rogue” digits and other body parts lost by the men who surrounded him in his youth—especially his grandfather—Dobson considers the costs of labour and poverty in rural environments. For him, the rogue is one who falls somehow outside of cultural, social, and political norms—the one who has decided to step outside of the establishment, outside of the corrupt élites and their highfalutin ways. To do so comes at a cost. Turning to the life of writer George Ryga and to the poetry and fiction of Patrick Lane, this essay examines the real, physical, material, and social costs of transgression across multiple works linked to rural environments in Alberta and British Columbia. The essay shows the ways in which very real forms of violence discipline the rogue, pushing the rogue back into submission or out of mind, back into the shadowy past from whence the rogue first came. Resisting nostalgia while evincing sympathy, this essay delves into what is at stake for one who would become a rogue.","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43603796","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}

引用次数: 0

“You’ll never meet someone like me again”: Patty Jenkins’s Monster as Rogue Cinema “你再也见不到像我这样的人了”：帕蒂·詹金斯饰演的流氓电影《怪物》

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Text Matters-A Journal of Literature Theory and Culture Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.04

Michelle D. Wise

{"title":"“You’ll never meet someone like me again”: Patty Jenkins’s Monster as Rogue Cinema","authors":"Michelle D. Wise","doi":"10.18778/2083-2931.09.04","DOIUrl":"https://doi.org/10.18778/2083-2931.09.04","url":null,"abstract":"Abstract Film is a powerful medium that can influence audience’s perceptions, values and ideals. As filmmaking evolved into a serious art form, it became a powerful tool for telling stories that require us to re-examine our ideology. While it remains popular to adapt a literary novel or text for the screen, filmmakers have more freedom to pick and choose the stories they want to tell. This freedom allows filmmakers to explore narratives that might otherwise go unheard, which include stories that feature marginal figures, such as serial killers, as sympathetic protagonists, which is what director Patty Jenkins achieves in her 2003 film Monster. Charlize Theron’s transformation into and performance as Aileen Wuornos, and Jenkins’s presentation of the subject matter, make this film an example of rogue cinema. In addition, Aileen Wuornos is portrayed as a clear example of the rogue character. This character trope frequently defies social standards, suffers from past trauma, is psychologically complex, and is often exiled. As a prostitute and social outcast, Aileen Wuornos exists on the fringes of society and rejects the hegemonic power structure and later heteronormativity of society, which makes her a rogue figure. While there are several aspects to consider when analyzing Jenkins’s film, my intention is to argue that this film is an example of rogue cinema because of its content. In order to accomplish this task, I examine Theron’s bodily transformation and her performance as Wuornos. Furthermore, I look at how Jenkins handles the depiction of romantic love and gendered violence and argue that her treatment of this content renders this film rogue.","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49361928","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}

引用次数: 0

Of Grim Witches and Showy Lady-Devils: Wealthy Women in Literature and Film 阴森的女巫和浮夸的女魔头:文学和电影中的富有女性

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Text Matters-A Journal of Literature Theory and Culture Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.03

Veronika Schuchter

{"title":"Of Grim Witches and Showy Lady-Devils: Wealthy Women in Literature and Film","authors":"Veronika Schuchter","doi":"10.18778/2083-2931.09.03","DOIUrl":"https://doi.org/10.18778/2083-2931.09.03","url":null,"abstract":"Abstract Imagining super rich women in the real and fictional world has long been a struggle. Those few depictions that do exist are scattered across time periods and literary genres, reflecting the legal restrictions that, at different points in time, would not allow women to accumulate assets independent of the patriarchal forces in their lives. The scarcity of extremely wealthy women in literature and film is confirmed by Forbes magazine’s list of the fifteen richest fictional characters that features forty different fictional men and only nine women, with never more than two female characters nominated in a single year. This article explores the depiction of three exceptionally wealthy women: Cruella de Vil in The Hundred and One Dalmatians (1956) by Dodie Smith, Miss Havisham in Great Expectations (1861) by Charles Dickens, and the figure of the stepmother in various adaptations of “Cinderella.” I demonstrate how the protagonists’ wealth allows them to manipulate others and disconnect themselves from patriarchal and societal expectations. Further, I argue that these affluent antagonists are “rogued” by their respective narratives, highlighting their perceived anti-feminine and emasculating behaviour resulting in a mode of narration that greedily gazes at and shames their appearances and supposed unattractiveness. While this genealogy of rich rogues reiterates the narrow scope of imagining wealthy women on the page and on the screen, there are moments in the narratives that disrupt stereotypical depictions of these wealthy characters who defy the labels imposed on them.","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44122068","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}

引用次数: 0

A Wild Roguery: Bruce Chatwin’s The Songlines Reconsidered 狂野的无赖：布鲁斯·查特温的《重新思考的松林》

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Text Matters-A Journal of Literature Theory and Culture Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.02

Christine Nicholls

{"title":"A Wild Roguery: Bruce Chatwin’s The Songlines Reconsidered","authors":"Christine Nicholls","doi":"10.18778/2083-2931.09.02","DOIUrl":"https://doi.org/10.18778/2083-2931.09.02","url":null,"abstract":"Abstract This article revisits, analyzes and critiques Bruce Chatwin’s 1987 bestseller, The Songlines,1 more than three decades after its publication. In Songlines, the book primarily responsible for his posthumous celebrity, Chatwin set out to explore the essence of Central and Western Desert Aboriginal Australians’ philosophical beliefs. For many readers globally, Songlines is regarded as a—if not the—definitive entry into the epistemological basis, religion, cosmology and lifeways of classical Western and Central Desert Aboriginal people. It is argued that Chatwin’s fuzzy, ill-defined use of the word-concept “songlines”2 has had the effect of generating more heat than light. Chatwin’s failure to recognize the economic imperative underpinning Australian desert people’s walking praxis is problematic: his own treks through foreign lands were underpropped by socioeconomic privilege. Chatwin’s ethnocentric idée fixe regarding the primacy of “walking” and “nomadism,” central to his Songlines thématique, well and truly preceded his visits to Central Australia. Walking, proclaimed Chatwin, is an elemental part of “Man’s” innate nature. It is argued that this unwavering, preconceived, essentialist belief was a self-serving construal justifying Chatwin’s own “nomadic” adventures of identity. Is it thus reasonable to regard Chatwin as a “rogue author,” an unreliable narrator? And if so, does this matter? Of greatest concern is the book’s continuing majority acceptance as a measured, accurate account of Aboriginal belief systems. With respect to Aboriginal desert people and the barely disguised individuals depicted in Songlines, is Chatwin’s book a “rogue text,” constituting an act of epistemic violence, consistent with Spivak’s usage of that term?","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49394465","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}

引用次数: 7