• A concise theory of meaningfulness in literary naming within the framework of The Pragmatic Theory of Properhood

      Coates, Richard; University of the West of England, Bristol (2015-11-03)
      No abstract.
    • Michel Butor: The Mytho-Fantastic Function of Naming

      Struebig, Patricia A. (2014-10-15)
      Michel Butor, a contemporary writer of the French New Novel, now the New New Novel, makes extensive use of naming, repetition of epithet -like phrases, distortions of q notations, sight -sound similarities of words and phrases, to create stories within stories and from other stories, and to evoke an oneiric level which allows times and locations to blend while still remaining separated. Carrying to the extreme the practice of immersion of text within text and meaning within meaning in Boomerang, the novel of 1978, the author combines eight different story lines, printed in four different colors, skillfully interweaving with his own narrative the elliptic citation of twenty-three sources ranging from the accounts of adventurers and explorers such as Cook and Bougainville to fantasy voyage writers like Jules Verne, and even aborigine story-tellers. In this study, the method and purpose of this type of creation is analyzed to show relationship between "new" literary production and "new" society, and the role that naming, as a creative technique, plays in that relationship. But or himself in Repertoire II has indicated that because the world only appears to us for the most part through what we are told about it, in conversations, classrooms, news media, a vital role of the literary text is to restructure information in such a way as to reveal hitherto unsuspected relationships, thereby enriching us with new perspectives and transforming our submission to the media into positive use of them (89-90). Butor's statement introduces indirectly his method of "restructuring" or "re-using" information from a myriad of sources to create his own literature, and sets this study in motion. To discuss mytho-fantastic function in Michel Butor's work, we must begin with a retrospective glance at this creativity, and we must define mythic function both globally .and as it performs in this author's texts. By extending this definition of mythic function in a literary text to encompass the introduction of fantastic levels in writing we can observe the growth not only of Michel Butor as a writer, but of new writings and their reason for being.
    • Nameless in English Renaissance Drama

      Litt, Dorothy E. (2014-10-20)
    • Names, Naming, and Nature in the Tale of Genji

      Kido, Elissa (2014-10-16)
      The Tale of Genji, written in the early eleventh century by a Japanese woman in the imperial court, is the undisputed masterpiece of classical Japanese literature. Some critics suggest that Japanese fiction owes its existence to The Tale of Genji since it is the earliest work in the history of Japanese literature to set the literary standards for the narrative (Rimer 200). In terms of world literature, the presence of psychological introspection in such an early work has prompted Western critics to acclaim Genji as the world's first psychological novel (Morris 265), if not indeed "the oldest true novel written anywhere in the world" (Keene 187). The hero of this novel is Prince Genji whose appearance and abilities are so brilliant that he is called Hikaru Genji, the Shining Prince or the Radiant One. He is by every Heian standard the beau ideal, and his charismatic appeal is far-reaching.
    • Naming and Namelessness in Jose Ruibal's La Maquina de Pedir

      Finke, Wayne H.; Baruch College, City University of New York (2014-10-15)
      In lieu of an abstract, here is the introductory paragraph of the article. During the nearly forty-year regime of Generalissimo Francisco Franco, Spain's literary production entered a period of semi-dormancy occasioned by severe limitations of censorship and repression of creative energies, particularly in the area of the theater.1 While theaters, especially in Madrid, were economically solvent and successful, the dramatic offerings presented onstage in the main afforded audiences inoffensive fare of bourgeois superficiality with scant, or virtually no probing of the complex realities of post-Civil War Spain.2 Writers who remained in Spain following the devastation were constrained to a depiction of the anodyne situations of urban life, while those who accepted forced, or self-imposed exile, found limited access in foreign lands- even in Latin America- for the staging of their productions. While repertory theaters were to be found in major capitals like Buenos Aires, Santiago and Havana, impresarios were more interested in mounting productions of the classics or translations of tested European dramatists than in offering their audiences the novel creations of a new generation of Spanish playwrights. One writer whose career has suffered the vicissitudes of mid-twentieth century Spanish history is Jose Ruibal.