• Joyce Cary's Onomastic "Orchestration": Name, Symbol, and Theme in The Horse's Mouth

      Kelley Stamm, Ramona (2014-10-16)
      Like many of his literary contemporaries, Joyce Cary maintains a more than superficial interest in the power of the word. Many modernist writers share with him an ambivalent attitude toward the word. To some degree, they hold the belief that words are worn out, obsolete, or otherwise inadequate to express the concerns of the twentieth century. On one hand, they are dissatisfied with the word, but on the other, they are forced to contend with the word as the only means of expression they have, yet many of them eventually come to see the word as still being capable of working transformations on both individuals and the world. Cary, too, recognizes and deplores the predicament of the literary artist who is compelled to use inadequate and vague language, and he expresses interest in his fellow artists' literary experiments.1 He wants his readers to enter into the fictive world as completely as possible, but he realizes that the very form of his craft works against this. He believes that all writers feel the limitations of language when they are "struggling to express an intuition of life which transcends any possible symbolic form" (Art and Reality 152). Many of his contemporaries attempt to change the world by changing the language and by engaging in radical and experimental forms, but Cary uses a more conventional artistic expression. He attempts to recharge, to revitalize words, but he insists that the continuity of the reader's experience should not be hampered by the artist's method of presentation. In order to accomplish his artistic goals, Cary employs names as symbols in The Horse's Mouth.
    • The Allegorical Sign in The Faerie Queene

      Harder, Kelsie B.; SUNY Potsdam (2014-10-16)
    • Disappearing Letters and Breaking Rules: John Irving as Namer

      Wages, Jack D. (2014-10-16)
      Among a number of interesting contemporary American novelists is John Irving, whose first three novels were inventive and entertaining; his second three works, however, are particularly remarkable. With The World Accordjng to Garp (1978), The Hotel New Hampshire (1981), and most recently Cider House Rules (1985) Irving has taken, as one reviewer observes, "a quantum leap forward" not only as a story teller, but also as a novelist who makes use of numerous and varied techniques related to names and naming. From the ribald puns on place names and a memorable demonstration of the intricate relationships between one's very existence and one's name in The World According to Garp to the epigrammatical and philosophical "sorrow floats" of The Hotel New Hampshire to his performance of onomastic tours de force in Cider House Rules, Irving continues to provide a rewarding and provocative treasure-trove for the student of names in literature.
    • "Up to a Point": Onomastic Devices and Satire in Evelyn Waugh's Scoop

      Ashley, Leonard R.N.; Brooklyn College, City University of New York (2014-10-16)
      Ezra Pound defined literature as "news that stays news," and this study of names in a work of fiction that, though minor in its author's oeuvre, is important in modern literature deals with news reporting in mass-communication newspapers, the area of what John Carey has called "the greatest change in human consciousness that has taken place in recorded history."1 The novel is Scoop. It offers especially rich material for the student of how satirical names function in literature to score intellectual points, to set a tone, to banter and to be profound, to assist the writer with his classical aim of "teaching delightfully" and his personal aim of "tearing a strip" off his selected targets. Scoop is an hilarious novel set against the real-life background of a rather farcical clash in far-off Ethiopia of the great political forces of Fascism and Communism that were very soon to engulf the world in war. 2 Scoop transmuted the base metal of fact, by a catalyst of bias, into the gold of literature. And the essentials are so finely perceived that as I write, at the end of the summer of 1987, the satire still is relevant; for Ethiopia, now on the verge of setting up a shengo (one-party parliament) of a People's Democratic Republic to end the rule of a military dictatorship that followed the collapse of "The Power of The Trinity," Haile Selassie, is still strife-torn, its Colonel Mengistu still a figure of farce, and the rebellions in Tigre and Eritrea, involving comic-opera People's Liberation Armies and confused government troops as well as the border skirmishes (with Somalia, etc.), still both bloody and bloody silly. The names change, but the foolishness they mock remains in the news.
    • "It's All in the Name": Amorous Vision and Poetic Creativity in Ronsard's Sonets pour Helene

      Gilman, Donald (2014-10-16)
      The opening paragraph of the article follows: In his final sonnet sequence, Pierre de Ronsard unites his vision of love with his search for poetic creativity. As a poet of love, he describes the turbulence of amorous experience throughout his personal verse and, like Petrarch and his followers, details the disquiet and disappointment of unrequited love. By centering attention on his use of Petrarchism as a poetic idiom, Desonay, Stone, Gendre, and Castor have studied Ronsard’s imitation of Petrarch’s conception and expression of love and have traced a progression from an innovation handling of conventional tropes and techniques in the Amours (1552-53) to a personal perception into the inevitable misery and disillusionment of human existence in the Sonets pour Helene (1578).1 These interpretations of the poet’s efforts to relate self-portrait to human portrayal deepen our aesthetic and thematic appreciation of Petrarchism precludes the numerous allusions to the poet’s perception into, and subsequent expression of, an individual experience that reflects universal reality. Even as early as the introductory poem to his first sonnet sequence, Ronsard identifies his love for Cassandre as the source of his perception into beauty and wisdom and the stimulus of his poetic creativity.2 A cursory recalling of his imaginative and theoretical writings, moreover, brings again to mind his life-long aspiration to reconcile the ideal of the ancient poet-seer with the practice of the sixteenth-century poet-craftsman. 3 And the opening line of the closing poem of the Sonets pour Helene confirms the significance of this theme. 4 Clearly, any examination of Ronsard’s conception of the poet-lover will necessarily be more suggestive than conclusive. But, perhaps, a key to an understanding of Ronsard’s attempts to capture in verse his insight into love and beauty lies in his interpretation of names, a technique that seems especially prevalent throughout the Sonets pour Helene. Thus, through a reading of selected sonnets that suggest a borrowing of the Neoplatonic theory of names and its application to the identity of Helene de Surgeres, this study will describe some of the onomastic strategies that enable Ronsard to relate the force of his perceived love to the inspiration of poetic creativity.
    • Ambiguity and Destruction Through the Naming Process in Reivindicacion del Conde don Julian and Recuento

      Sobejano-Moran, Antonio (2014-10-16)
      The main objective of Reivindicacion del Conde don Julian by Juan Goytisolo and Recuento by Luis Goytisolo is the harsh criticism and demolition of the entire Spanish society. The narrator-protagonist of Reivindicacion, through an imaginary odyssey that lasts one day, attacks and destroys the literature, religion, cultural beliefs, myths, and language of Spain, both past and present. In Recuento, on the other hand, Luis Goytisolo exposes and parodies the post-civil war social classes and traditional institutions, such as the army and the Catholic Church. The purpose of this analysis is to prove how the ambiguity that permeates these two novels has its counterpart in the naming process, which undermines the tradition of one-dimensional main characters.
    • The Seven Wonders and the Seven Hills in Du Bellay's Les Antiquitez de Rome

      Davis, Betty J.; Brooklyn College, City University of New York (2014-10-16)
      Seven is a magic number. According to Genesis, God created the world in six days and rested on the seventh. We have the seven sacraments,1 the Seven Deadly Sins,2 the Seven Seas, the Seven Against Thebes,3 the Seven Sages or Seven Wise Men of antiquity,4 and the Seven Sleepers of Ephesus.5 We have a constellation of seven stars known as the Pleiades,6 whose name was adopted by seven poets in ancient Alexandria7 and later by seven young poets in the French Renaissance, who called themselves the Pleiade.8 Among these was Joachim Du Bellay, who, in 1558, published a collection of sonnets known as Les Antiquitez de Rome. In this work, Du Bellay contrasts vibrant ancient Rome with the shadowy relics of antiquity visible in Rome of the Renaissance.
    • "Espiritu Sin Nombre": Names in Becquer

      Lynch, Susan; Rodriguez, Alfred (2014-10-16)
      The most striking feature of an onomastic study of the Rimas, Gustavo Adolfo Becquer's major poetic creation, is the extreme paucity of given names.1 Only four such names appear in all of the Rimas (Ofelia, Minerva, Lazaro, Dante), but even these few must be qualified for the purpose of this study. They are not properly given names, actually identifying characters or people addressed by the poet in his lyrics. All four have connotative and/or metaphorical functions as employed in their respective poems.2 In point of fact, then, there are no personal names at all uttered in the seventy-nine poems that constitute this significant body of verse.
    • Preface

      Alvarez-Altman, Grace; Burelbach, Frederick M.; The College at Brockport (2014-10-16)
    • Front Cover

      2014-10-16
    • Names in Derivative Literature and Parodies

      Nicolaisen, W.F.H.; SUNY Binghamton (2014-10-16)
    • Literary Terms: Limitations of Naming

      Burelbach, Frederick M.; The College at Brockport (2014-10-16)
    • Christian Lore and Characters' Names in A Canticle for Leibowitz

      Stoler, John A.; University of Texas, San Antonio (2014-10-16)
    • Epos and Anthroponym: The Poema de Mio Cid

      Finke, Wayne H.; Baruch College, City University of New York (2014-10-16)
    • Kafka's Landscape in Amerika

      Harder, Kelsie B.; SUNY Potsdam (2014-10-16)