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Literature as dialogue : invitations offered and negotiated /
How is it that some texts achieve the status of literature? Partly, at least, because the relationship they allow between their writers and the people who respond to them is fundamentally egalitarian. This is the insight explored by members of the Åbo literary communication network, who in this new...
| Clasificación: | Libro Electrónico |
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| Otros Autores: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; Philadelphia :
John Benjamins Publishing Company,
2014.
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| Colección: | Dialogue studies ;
v. 22. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Literature as Dialogue; Editorial page ; Title page ; LCC data ; Table of contents; List of figures; Acknowledgements; Contributors; Introduction; 1. Invitations offered and negotiated; 2. Literature as dialogue; 3. Communicational criticism ; 4. Mediating criticism; References; I. Communicational criticism: Evaluating the invitations offered to audiences by writers; 1. Dialogue and dialogicity: Swift's A Modest Proposal and Plato's Crito; 1.1 Form and function; 1.2 Swift's Modest Proposal: A dialogue-provoking monologue; 1.3 Plato's Crito: A monologue-inducing dialogue.
- 1.4 Concluding remarksReferences; 2. Silence and dialogue: The hermetic poetry of Wáng Wéi and Paul Celan; 2.1 The hermetic as genuine communication; 2.2 Wáng Wéi's "Deer Grove"; 2.3 Paul Celan's "In the Rivers"; 2.4 Indirect voices; References; 3. Multifaceted postmodernist dialogue: Julian Barnes's Talking It Over and Love, etc.; 3.1 Two portraits of a love triangle; 3.2 Characters in dialogue with readers; 3.3 Characters in dialogue with each other; 3.4 Barnes's dialogue with readers; References; 4. Misunderstanding and embodied communication: The Comedy of Errors.
- 4.1 Failed dialogue and contradictions4.2 "Were it not against our laws": The linguistic order of Ephesus; 4.3 Misunderstanding and meaning; 4.4 The rhetoric and timing of errors; 4.5 "If my skin were parchment": Staging misunderstanding; 4.6 Conclusion; References; 5. The dialogic potential of 'literary autism' Caryl Phillips's Higher Ground (1989) and Marie NDiaye's Trois femmes puissantes (2009); 5.1 Approach and terminology; 5.2 Ambiguities of genre and title ; 5.3 Narrative ambiguity; 5.4 Psychological clues.
- 5.5 Challenges of language and style, subject matter, culture and intertextuality5.6 Overall effect; 5.7 Genuine interaction; References; 6. Narrative and talk-back: Joseph Conrad's "Falk"; 6.1 Reading and re-reading as parts of a dialogue; 6.2 First impressions; 6.3 Invitation to a re-reading; 6.4 Re-reading; 6.5 The self-reflexive turn; References; II. Mediating criticism: Helping audiences to negotiate writers' invitations; 7. The role of the emotions in literary communication Joyce's A Portrait of the Artist as a Young Man; 7.1 Introduction; 7.2 A Portrait of the Artist as a Young Man.
- 7.3 Narrative unreliability and its psychopoetic effects7.4 The moral lessons of A Portrait of the Artist ; 7.5 Conclusion; References; 8. In dialogue with the ageing Wordsworth; 8.1 Communicational genuineness; 8.2 Youth, age, and ageing as facts of life and poetic themes; 8.3 Critical re-assessment; 8.4 Looking ahead; References; 9. Rules of exchange in mediaeval plays and play manuscripts; 9.1 Materials; 9.2 Contrasting modes of dialogue; 9.3 Liturgical stylization and empathy; 9.4 The play manuscript's appeal to readers; 9.5 A complex invitation to addressees; References.