超越隐喻:将儿童文学概念化为根性网络

IF 0.6 0 LITERARY THEORY & CRITICISM
Maureen Hosay
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Indeed, many characteristics of the rhizomatic network – namely its unlimited, simplified, non-hierarchical, random-access, and visual nature – lend themselves to a broader and more inclusive conceptualization of children’s literature. Translator study scholar Rebecca Walkowitz makes a strong case for this approach, stating that »[i]n the future, we will need to read comparatively, by which I mean reading across editions and formats and also recognizing that any one edition and format contributes to the work rather than exhausts it« (Walkowitz 2015, unpag.). Concretely, I argue for the use of the rhizomatic network as a visual model of multimodal children’s literature at three levels: 1) a given storyworld as a network of interconnected versions; 2) the context of any given version of the storyworld as a network; and 3) the text (or multimodal ensemble) of any given version of the storyworld as a network of meaning-making resources (modes). I illustrate the network model at these three levels through two case studies: We’re Going on a Bear Hunt (Rosen/Oxenbury 1989) and the Gruffalo (Donaldson/Scheffler 1999). In Cathlena Martin’s words, children’s texts »refuse« to stay confined (Martin 2009, 87), whether it be to one medium, or to one language. As a result, any storyworld of children’s literature can be conceptualized as a network of interconnected works, each of which expands it in a different direction depending on its features. This approach thus emphasizes the multidirectionality of influences between works and the »new set of relations« whereby »something unique is produced« (Cartmell/Whelehan 2010, 22). These new sets of relations involve not only the features of the work, but also its context, which can too be contextualized as a network of interconnected agents and organizations involved in the production and reception of the work. At the level of the multimodal ensemble, the model aims to map out the combinations of modes within any product of children’s literature. Since multimodality is inherently hierarchical, as it consists of modal categories, modes, and sub-modes, I propose a hybrid model (after Ban-Yam 2002) that combines the tree (hierarchy) structure and the rhizome structure (lateral connections). While it is important to keep in mind that the audience experiences meaning as a whole, as a synergy of modes and sub-modes (Sipe 2012), breaking down this synergy into its constituents is a useful way to better understand how children’s literature makes meaning, and how meaning is reshaped through medial and/or linguistic transformations. While the rhizome model undoubtedly has numerous benefits, it also comes with limitations. To begin, the concrete representations of the rhizome inherently carry a positioning bias, which stems from the researcher’s background and focus. Furthermore, these visuals tend to be text-centered. Although presenting information as a network adds a visual dimension, the content of the nodes (text) could be replaced by images or sounds when possible, in order to accentuate the multimodal and intermedial dimensions of network representations. However, using text is still the easiest, fastest, and most effective way to create a network representation that fits the space and format of an academic article. Another limitation is that the network arguably does not help dissipate the theoretical fuzziness surrounding the nature of the actual transformations undergone by children’s literature products (e. g., translation, transduction, localization, adaptation, parody, abridgment, rewriting, transcreation). Instead of proposing yet another set of terms, I contextualize the networks of versions within the broader context of »intertextual dialogism« (Stam 2000) and use Klaus Kaindl’s typology of translation (used by Kaindl to encompass adaptation) to focus on what changes between versions rather than what they are. The typology classifies translations according to two parameters: modes and culture. To this, I propose adding a third dimension, namely medium, to account for the specific affordances of the new product and their influence on the multimodal ensemble. This typology, together with the broader production and reception context, sheds light on the new product’s specificities and relations to other products. This article does not aim to avoid these limitations, but rather chooses to embrace them as stimulating signposts that the discussion surrounding the merit of the rhizomatic network model in (children’s) literature has only just begun.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":"17 1","pages":"241 - 260"},"PeriodicalIF":0.6000,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Beyond the Metaphor: Conceptualizing Children’s Literature as (part of) a Rhizomatic Network\",\"authors\":\"Maureen Hosay\",\"doi\":\"10.1515/jlt-2023-2011\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract If, as George E.P. Box puts it, »all models are wrong, but some are useful« (Box in Ahnert et al. 2020, 79), what then, would be the merit and concrete gains of such an ambivalent model in the field of literature? 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Translator study scholar Rebecca Walkowitz makes a strong case for this approach, stating that »[i]n the future, we will need to read comparatively, by which I mean reading across editions and formats and also recognizing that any one edition and format contributes to the work rather than exhausts it« (Walkowitz 2015, unpag.). Concretely, I argue for the use of the rhizomatic network as a visual model of multimodal children’s literature at three levels: 1) a given storyworld as a network of interconnected versions; 2) the context of any given version of the storyworld as a network; and 3) the text (or multimodal ensemble) of any given version of the storyworld as a network of meaning-making resources (modes). I illustrate the network model at these three levels through two case studies: We’re Going on a Bear Hunt (Rosen/Oxenbury 1989) and the Gruffalo (Donaldson/Scheffler 1999). In Cathlena Martin’s words, children’s texts »refuse« to stay confined (Martin 2009, 87), whether it be to one medium, or to one language. As a result, any storyworld of children’s literature can be conceptualized as a network of interconnected works, each of which expands it in a different direction depending on its features. This approach thus emphasizes the multidirectionality of influences between works and the »new set of relations« whereby »something unique is produced« (Cartmell/Whelehan 2010, 22). These new sets of relations involve not only the features of the work, but also its context, which can too be contextualized as a network of interconnected agents and organizations involved in the production and reception of the work. At the level of the multimodal ensemble, the model aims to map out the combinations of modes within any product of children’s literature. Since multimodality is inherently hierarchical, as it consists of modal categories, modes, and sub-modes, I propose a hybrid model (after Ban-Yam 2002) that combines the tree (hierarchy) structure and the rhizome structure (lateral connections). While it is important to keep in mind that the audience experiences meaning as a whole, as a synergy of modes and sub-modes (Sipe 2012), breaking down this synergy into its constituents is a useful way to better understand how children’s literature makes meaning, and how meaning is reshaped through medial and/or linguistic transformations. While the rhizome model undoubtedly has numerous benefits, it also comes with limitations. To begin, the concrete representations of the rhizome inherently carry a positioning bias, which stems from the researcher’s background and focus. Furthermore, these visuals tend to be text-centered. Although presenting information as a network adds a visual dimension, the content of the nodes (text) could be replaced by images or sounds when possible, in order to accentuate the multimodal and intermedial dimensions of network representations. However, using text is still the easiest, fastest, and most effective way to create a network representation that fits the space and format of an academic article. Another limitation is that the network arguably does not help dissipate the theoretical fuzziness surrounding the nature of the actual transformations undergone by children’s literature products (e. g., translation, transduction, localization, adaptation, parody, abridgment, rewriting, transcreation). Instead of proposing yet another set of terms, I contextualize the networks of versions within the broader context of »intertextual dialogism« (Stam 2000) and use Klaus Kaindl’s typology of translation (used by Kaindl to encompass adaptation) to focus on what changes between versions rather than what they are. The typology classifies translations according to two parameters: modes and culture. To this, I propose adding a third dimension, namely medium, to account for the specific affordances of the new product and their influence on the multimodal ensemble. This typology, together with the broader production and reception context, sheds light on the new product’s specificities and relations to other products. 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引用次数: 0

摘要

摘要如果正如George E.P.Box所说,“所有的模型都是错误的,但有些是有用的”(Box in Ahnert et al.2020,79),那么,这种矛盾的模型在文学领域的优点和具体收获是什么?这篇文章源于一种预感:使用网络隐喻来描述儿童文学(广义上指为儿童开发的任何文化产品)并非微不足道。从这一假设出发,本文的目标是超越隐喻,探索根茎网络如何作为一个具体的模型,补充当前用于研究儿童文学的工具箱。事实上,根茎网络的许多特征——即其无限性、简化性、非层次性、随机性和视觉性——有助于对儿童文学进行更广泛、更包容的概念化。翻译家研究学者Rebecca Walkowitz为这种方法提供了有力的论据,她表示“在未来,我们将需要进行比较阅读,我的意思是跨版本和格式阅读,并认识到任何一个版本和格式都有助于工作,而不是耗尽它”(Walkowitz 2015,unpog.),我主张在三个层面上使用根茎网络作为多模式儿童文学的视觉模型:1)给定的故事世界是一个相互关联的版本网络;2) 作为网络的故事世界的任何给定版本的上下文;以及3)作为意义制造资源(模式)网络的故事世界的任何给定版本的文本(或多模式集合)。我通过两个案例研究说明了这三个层面上的网络模型:我们正在进行猎熊(Rosen/Oxenbury 1989)和Gruffalo(Donaldson/Scheffler 1999)。用Cathlena Martin的话来说,儿童文本“拒绝”被限制(Martin 2009,87),无论是一种媒介,还是一种语言。因此,任何儿童文学的故事世界都可以被概念化为一个相互关联的作品网络,每个作品都根据其特点向不同的方向扩展。因此,这种方法强调了作品与“新的关系”之间的影响的多向性,“新的一套关系”产生了“独特的东西”(Cartmell/Whelehan,2010,22)。这些新的关系不仅涉及作品的特征,还涉及作品的背景,也可以将其视为参与作品制作和接收的相互关联的代理人和组织的网络。在多模式集成的层面上,该模型旨在绘制出儿童文学任何产品中的模式组合。由于多模态本质上是层次性的,因为它由模态类别、模态和子模态组成,我提出了一个混合模型(Ban Yam 2002之后),该模型结合了树(层次)结构和根茎结构(横向连接)。尽管重要的是要记住,观众体验到的意义是一个整体,是模式和子模式的协同作用(Sipe 2012),但将这种协同作用分解为其组成部分是一种有用的方式,可以更好地理解儿童文学是如何产生意义的,以及意义是如何通过媒介和/或语言转换重塑的。虽然根茎模型无疑有很多好处,但它也有局限性。首先,根茎的具体表现本质上带有定位偏差,这源于研究人员的背景和关注点。此外,这些视觉效果往往以文本为中心。尽管将信息呈现为网络增加了视觉维度,但在可能的情况下,节点(文本)的内容可以用图像或声音代替,以强调网络表示的多模式和中间维度。然而,使用文本仍然是创建适合学术文章空间和格式的网络表示的最简单、最快、最有效的方法。另一个限制是,可以说,网络并不能帮助消除围绕儿童文学产品所经历的实际转变本质的理论模糊性。 翻译、转导、本地化、改编、戏仿、删节、重写、转写)。我没有提出另一组术语,而是在“互文对话”(Stam 2000)的更广泛背景下,将版本网络置于语境中,并使用克劳斯·坎德尔的翻译类型学(坎德尔用来涵盖改编)来关注版本之间的变化,而不是它们是什么。类型学根据两个参数对翻译进行分类:模式和文化。为此,我建议增加第三个维度,即媒介,以说明新产品的特定可供性及其对多模式集合的影响。这种类型,加上更广泛的生产和接收背景,揭示了新产品的特殊性以及与其他产品的关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Beyond the Metaphor: Conceptualizing Children’s Literature as (part of) a Rhizomatic Network
Abstract If, as George E.P. Box puts it, »all models are wrong, but some are useful« (Box in Ahnert et al. 2020, 79), what then, would be the merit and concrete gains of such an ambivalent model in the field of literature? This article stems from a hunch: that the use of the network metaphor to describe children’s literature (in the broad sense as referring to any cultural product developed for children) is not insignificant. Starting from that postulate, the goal of this article is to look beyond the metaphor and explore how the rhizomatic network could serve as a concrete model, supplementing the current toolbox used to study children’s literature. Indeed, many characteristics of the rhizomatic network – namely its unlimited, simplified, non-hierarchical, random-access, and visual nature – lend themselves to a broader and more inclusive conceptualization of children’s literature. Translator study scholar Rebecca Walkowitz makes a strong case for this approach, stating that »[i]n the future, we will need to read comparatively, by which I mean reading across editions and formats and also recognizing that any one edition and format contributes to the work rather than exhausts it« (Walkowitz 2015, unpag.). Concretely, I argue for the use of the rhizomatic network as a visual model of multimodal children’s literature at three levels: 1) a given storyworld as a network of interconnected versions; 2) the context of any given version of the storyworld as a network; and 3) the text (or multimodal ensemble) of any given version of the storyworld as a network of meaning-making resources (modes). I illustrate the network model at these three levels through two case studies: We’re Going on a Bear Hunt (Rosen/Oxenbury 1989) and the Gruffalo (Donaldson/Scheffler 1999). In Cathlena Martin’s words, children’s texts »refuse« to stay confined (Martin 2009, 87), whether it be to one medium, or to one language. As a result, any storyworld of children’s literature can be conceptualized as a network of interconnected works, each of which expands it in a different direction depending on its features. This approach thus emphasizes the multidirectionality of influences between works and the »new set of relations« whereby »something unique is produced« (Cartmell/Whelehan 2010, 22). These new sets of relations involve not only the features of the work, but also its context, which can too be contextualized as a network of interconnected agents and organizations involved in the production and reception of the work. At the level of the multimodal ensemble, the model aims to map out the combinations of modes within any product of children’s literature. Since multimodality is inherently hierarchical, as it consists of modal categories, modes, and sub-modes, I propose a hybrid model (after Ban-Yam 2002) that combines the tree (hierarchy) structure and the rhizome structure (lateral connections). While it is important to keep in mind that the audience experiences meaning as a whole, as a synergy of modes and sub-modes (Sipe 2012), breaking down this synergy into its constituents is a useful way to better understand how children’s literature makes meaning, and how meaning is reshaped through medial and/or linguistic transformations. While the rhizome model undoubtedly has numerous benefits, it also comes with limitations. To begin, the concrete representations of the rhizome inherently carry a positioning bias, which stems from the researcher’s background and focus. Furthermore, these visuals tend to be text-centered. Although presenting information as a network adds a visual dimension, the content of the nodes (text) could be replaced by images or sounds when possible, in order to accentuate the multimodal and intermedial dimensions of network representations. However, using text is still the easiest, fastest, and most effective way to create a network representation that fits the space and format of an academic article. Another limitation is that the network arguably does not help dissipate the theoretical fuzziness surrounding the nature of the actual transformations undergone by children’s literature products (e. g., translation, transduction, localization, adaptation, parody, abridgment, rewriting, transcreation). Instead of proposing yet another set of terms, I contextualize the networks of versions within the broader context of »intertextual dialogism« (Stam 2000) and use Klaus Kaindl’s typology of translation (used by Kaindl to encompass adaptation) to focus on what changes between versions rather than what they are. The typology classifies translations according to two parameters: modes and culture. To this, I propose adding a third dimension, namely medium, to account for the specific affordances of the new product and their influence on the multimodal ensemble. This typology, together with the broader production and reception context, sheds light on the new product’s specificities and relations to other products. This article does not aim to avoid these limitations, but rather chooses to embrace them as stimulating signposts that the discussion surrounding the merit of the rhizomatic network model in (children’s) literature has only just begun.
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来源期刊
Journal of Literary Theory
Journal of Literary Theory LITERARY THEORY & CRITICISM-
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