'The look of hope or the look of sadness': Robert Frank's dialogical vision

Abstract

This article examines the work of Robert Frank with reference to his seminal photographic work, The Americans, and its relationships to his later post-1970s images. It argues that the 'outside eye' he brought to the US post-war consensus offered him a new comparative critical position and represented a fundamental, counter-cultural shift in the tradition of documentary photography. This vision formed around Frank's multiple 'dialogues', with the US social landscape, with earlier traditions of documentary and 'street' photography in Europe and the USA, and with the Beat generation's radical challenges to dominant post-war values. This 'moment' of overlapping and interconnected relations forms the basis for this discussion of Frank's importance as a 'political' commentator whose work has influenced generations of photographers and shares much with those writers who emerged as the Beats.     

Minute Particulars of the Counter- Culture: Time,Life, and the Photo-poetics of Allen Ginsberg

Abstract

Recent exhibitions of Allen Ginsberg’s photographs, which feature 1950s snapshots of his fellow-Beats Jack Kerouac and William Burroughs, have been dismissed by some as marketing exercises for the Beat myth that promote their biocentric image. Ginsberg himself invited comparisons between his work and Robert Frank’s The Americans. However, a detailed material analysis of his work as a poet-photographer, paying close attention to his handwritten captions, recognises it as a complex hybrid that extends his prophetic poetics. In particular, contextualising his work in relation to the 1950s photojournalism of Life and Time establishes the ways in which Ginsberg, and Burroughs, responded to the attacks made on the Beats in those magazines on behalf of Henry Luce’s ‘American Century’.     

Imperial Misnomers: Herman Melville's Subversion of Narratives of Exploration

Abstract

In his oeuvre the nineteenth-century American author Herman Melville engages critically with the role of narrative taxonomies in imperial praxis, particularly as they relate to his own country's emergence as imperial nation. The relativising influence of Melville's years at sea is an important factor in shaping the ontologically indeterminate and anti-teleological character of his narratives, which both critically and parodically recall the ways in which narrative representations serve imperial ends by bridging or overwriting epistemological lacunae. Melville's lectures ‘On Traveling’ and ‘The South Seas’ provide a useful introduction to his countervailing perspective: the former, by delineating a mode of travelling that remains open to that which is other; the latter by considering critically the introduction of the Pacific into Western historiography by means of several acts of misnaming and symbolic appropriation. Melville highlights the self-deconstructive nature of such acts, yet also shows a keen understanding of how nominal appropriation and exotic refiguration foreground and enable colonisation. This recognition informs Melville's first prose fiction, Typee, in which he launches a two-pronged critique of imperialism: by his first person narrator's polemic against missionary and naval activity in the Marquesas, but also, more tellingly, by exposing this narrator's own acts of misrepresentation, which suggest a deeper complicity in the discourse of empire.     

Reducing attitudes of prejudice and discrimination through literature: a quasi-experiment on the upper key-stage 2 students of the British schools in Karachi,Pakistan

This study aims to explore the efficacy of literature relating to Anne Frank to reduce children’s attitudes of prejudice and discrimination with respect to specific dimensions, including ethnicity and race, religion and gender. A quasi-experiment was employed with pre-post control design. The sample consisted of 100 students of the upper key-stage 2 (UKS2) level, recruited from the two British schools in Karachi. These schools represented an Experimental Group (EG) and a matched Comparison Group (CG). A research instrument titled ‘Muggles world of differences’ (MWD) was developed and validated. It was administered on CG and EG, both before and after intervention. The intervention plan ‘Reading of Young Anne’s Literature’ (ROYAL) was developed based on selected readings from Anne Frank related literature (AFL). Intervention was provided to EG, while CG studied similar concepts using a more standard method. Results of the pretest revealed a high level of prejudice and discrimination in both the EG and CG, with no significant difference (p > 0.05) in the overall scores, as well as in the specific content domains. However, the post-test of the two groups revealed that the students in the EG had outperformed their CG counterparts in overall MWD scores, as well as in specific content domains. The difference was found to be significant (p < 0.05) with the large effect size (r = ?0.63). Results support the efficacy of teaching Anne Frank related literature in reducing attitudes of prejudice and discrimination.     

Boris Eikhenbaum's Response to the Crisis of the Novel in the 1920s

Abstract

Focusing on the Russian literary scholar Boris Eikhenbaum (1886–1959), the present article considers the interrelationship of autobiographical, scholarly and fictional modes of writing. In 1925 Eikhenbaum wrote in a letter of his 'longing for acts, longing for biography'. This article views the scholar's acute sense of diminished agency in the context of the crisis of the novel in the 1920s and discusses how Eikhenbaum's own generic experimentation becomes a means of finding an answer to the question he posed to himself and his age of 'how to be a writer'. The discussion is primarily based on Eikhenbaum's autobiographical sketches in Moi vremennik (My Periodical, 1929) and his scholarly monograph, Lev Tolstoi. Piatidesiatye gody (Lev Tolstoi: The Fifties, 1928), and attention is drawn to the generic, rhetorical and narrative strategies used across these hybrid scholarly texts, which in turn become invested with a certain emotional and ethical charge. In the end, the article shows how, above all, Eikhenbaum's empathetic engagement with Tolstoi marks for him the restoration of 'biography' and the solution to the entwined epochal and personal crises of genre and authorship.     

Mimesis,narrative and subjectivity in the work of Girard and Ricoeur

Abstract

While Ricoeur wishes to relate the concept of narrative to identity and ethics, Girard sees the development of ethical conscience in myth. This paper examines this difference, arguing that the implicitly universal human nature that he posits, driven by mimetic desire, compromises subjectivity as narrative identity, as developed in Ricoeur's work. This paper attempts to read Girard alongside Ricoeur, in order to suggest that there is a problematic tension implicit in Guard's work between subjectivity and drive. To do this, I describe Ricoeur's understanding of mimesis and how this is related to truth and narrative identity. Then turning to Girard, I show how his linking of violence to truth repudiates the possibility of the attestation of truth as subjectivity.     

Frank O'Hara in New York Race relations,poetic situations,postcolonial space

Abstract

Frank O'Hara's 1958 poem 'Ode: Salute to the French Negro Poets' cites 'race' as 'the poetic ground on which we rear our smiles', a phrase that points to both domestic and international contexts for reading this New York poet. At the same time, 'race' has a history of specific valences in O'Hara's work – as a focus of exoticized images of desire, aesthetic fulfillment, and social energy. Further, race, inflected through various colonial screens, becomes the central avenue leading toward O'Hara's project of rewriting the parameters of social space in poetry, a radical aestheticization not just of landscape but of social relations, with a consequent socialization of the act of writing. This article explores O'Hara's spatial poetics through the terms of Situationist theory, in which the techniques of dérive and détournement are applied to a reading of the poet's active suspension of the 'rules' of a gridded and hierarchical social order.     

The Multiple Relationships Between the Discipline of Social Work and the Contributions of Michael White

Abstract

Michael White, the Australian narrative practitioner, died in April this year. Given White trained in social work and has had a large impact on many social workers, it is timely to investigate the opaque relationships linking White and his work with his discipline-of-origin. The present examination proceeds in three steps. First, a schematic outline of White's intellectual influences and achievements is set out; second, the alignments, as well as tensions, between White's work and his discipline-of-origin are considered; and, third, it is argued that White was informed by, and went on to produce a body of work that further informed, the contesting spirit that is the wellspring of the discipline of social work. This conclusion is reached mindful of the fact that White remained antagonistic to the role played by the professions in general and that he did not identify with the title ‘social worker’ in particular.     

Killing the Father: Childhood and Renewal of Self-Narrative in Dambudzo Marechera's Fiction

Abstract

The contradictory impulses that characterise writing on Dambudzo Marechera's life and times were foreshadowed a long time ago in 1971 in an obligatory testimonial by his high school principal, Father Daniel Pearce, an Anglican priest. I discuss briefly the ways in which he maps Marechera's life, and suggest that he prefigured so much of its seeming intricacy and mythical qualities. Subsequent critics of his writing have only elaborated the contradictory templates of Father Pearce's hagiographic writing. What his critics have often missed in these writings and readings is Marechera's own effort at renewing his own self-narrative in the face of such readings of himself. The source of this narrative regeneration is in his recollection and uses of childhood to reflect on a longing for self-capitalisation, which is achieved by setting aside the narratives of the father (in multiple symbolic senses). His ideas of self-writing should be gleaned from his understanding and uses of childhood.     

Truth,lies, and racial consequences in Ernest Hemingway's True at First Light: A Fictional Memoir

Abstract

This article examines Ernest Hemingway's posthumously published novel True at First Light: A Fictional Memoir, by relating the author's vision of the role of Africa in the literary imagination to issues the novel raises for postcolonial cultural and historical criticism. Analyzing the novel's narrative, which draws upon Hemingway's second safari to Kenya in 1953–4, offers insight into Hemingway's 'African American' consciousness, and the new awareness that he was able substantively to arrive at for the first time in this novel, less than 10 years before his death. This awareness inaugurated what might be called a fictional reverse migration, whereby Hemingway reconnects with the black native perspective on Africa that he encountered on his first safari in 1933–4, in order to acquire material insight into what blacks were experiencing in America at the time of his second safari. Identifying this awareness also leads to the possibility of (re)reading Hemingway's racial perspective in his earlier works with African settings.     

Revivifying Russia: Literature,Theory, and Empire in Viktor Shklovskii's Civil War Writings

Abstract

When in 1924 Iurii Tynianov identified Viktor Shklovskii's memoir A Sentimental Journey as a work 'on the margin of literature', he was commenting on the text's generic experimentation. But he also provided an apt label for its geopolitical setting, as war drives Shklovskii back and forth from Russia's dying imperial centre Petrograd to the country's peripheries. The sometimes uneasy relationship between Shklovskii's literary theory and his movement through the disintegrating Empire is this essay's main focus. Drawing on recent scholarship that identifies a fundamental paradox of modern literary theory as both the cosmopolitan study of literature per se and a discipline validated by national literary canons, the essay proposes that Shklovskii negotiates cosmopolitan and national impulses by exploring Russian literature as the expression of a multi-ethnic and multilingual empire. In analogy with Shklovskii's famous dictum that art exists to 'make the stone stony', the argument is made that in his Civil War writings Shklovskii strove to revivify the Russian Empire, that is, to 'make Russia Russian', by presenting his readers with a new and strange view of Russia from its imperial borders.     

Zinovy Zinik's Narratives of Cultural Dislocation

Abstract

The study examines Zinik's use of translation, theatre and misreading as metaphors for the act of border crossing in his novels and short stories. Through close readings of Zinik's novels The Lord and the Gamekeeper, The Mushroom Picker and The Russian Service, it is demonstrated that Zinik integrates these themes into his work with intent to expose novelistic conventions, confuse the boundary between art and life, and blur the roles of the author, reader and literary protagonist. Zinik's invitations to the reader to enter the worlds of his texts and experience cultural dislocation firsthand are continued in his recent short stories, which reflect the social changes and fluid cultural boundaries associated with globalisation. It is argued that, at the same time, Zinik's work reveals the limitations of conventional binary oppositions such as actor/audience and the utopian claims behind translation, interpretation and globalisation. Thus, it asserts the need to affirm new cultural symbols and practices through which individuals will shape transcultural identities as visions of a homogeneous global culture become more prevalent.     

Mirrors and Metarealists: The Poetry of Oĺga Sedakova and Ivan Zhdanov

Abstract

My paper analyses the third volume of Gustav Shpet's Aesthetic Fragments with special regard to his quasi-mathematical formula allegedly expressing 'the aesthetic reception of the word' in a literary work that caps this text. The obviously unserious character of the algorithm proffered by Shpet raises the question of his intentions. The paper argues that this is a case of self-parody, of laughter that Samuel Beckett termed risus purus through which the Russian thinker reacted to the overall ambiguity of the socio-political situation in early 1922 when he wrote his essay.     

Imaging Separation in Tom Feelings' The Middle Passage: White Ships / Black Cargo and Toni Morrison's Beloved

Abstract

Graphic artist Tom Feelings and novelist Toni Morrison face similar challenges in representing the Atlantic slave trade. Feelings' The Middle Passage: White Ships / Black Cargo tells a wordless narrative in pictures. Morrison's Beloved portrays in contemporary narrative form, the devastating effects of forced transnational migration. Both artists confront conventional silences surrounding this aspect of slavery by presenting displaced Africans on their way to the Americas. Their texts both define Black literature of the late twentieth century, and trouble the status quo as experiments in aesthetic expression. Their works demonstrate the way a legacy of trauma is written into the fabric of US culture. I put forth a comparative methodology of representations of the Middle Passage in word and image, by examining the self-definition of a genre and the collapse of conventional medial distinctions between graphic, linguistic and musical expression. Feelings employs overt symbolism and more subtle modes of signifying in his treatment of individuals in crisis, forced into new subject positions when enslaved. Likewise, Morrison critiques identity formation while in bondage by stylising her language for particular effects. Parallel structures in word and image signify resistance to convention as African American literature makes its way into the broader realm of world literature.     

Frank Capra and Leni Riefenstahl: Politics,Propaganda and the Personal

Abstract

The circumstances that led Frank Capra to view Leni Riefenstahl's notorious documentary of the 1934 Nuremberg rallies, Triumph of the Will, is well-known. What is less known is the extent to which the themes inherent in Capra's filmmaking through the 1930s, and Riefenstahl's own interest in ideas of national identity, social commentary and romanticism in her fictional and documentary films, mapped out a set of cinematic coincidences between the two little discussed in the body of literature devoted to these directors. This article lays out a number of those coincidences and, in the process, compares the theoretical strain of political romanticism that winds its way through Capra and Riefenstahl's work. The iconic and symbolic imagery in their films suggests interesting and important comparative aspects to their canon, but also that a fascination in political romanticism led them to differing conclusions about the impact and threat of media and propaganda forces lined up in alliance with totalitarian powers during the 1930s and '40s.     

'Another History': Alternative Americas in Paul Auster's Fiction

Abstract

Even though Paul Auster's work has been influenced by European writers, he is also a fundamentally American writer. His settings, many of his literary references, his characters and most of his themes are certainly American. And so is his interest in American history and reality. Moon Palace (1989), for example, deals with the creation of the myth of the American Dream as the country extended its frontier westward. One of the ways for Auster to express his concerns is the creation of parallel fictions like 'Kepler's Blood', a story-within-the-story which fictionally rewrites the origins of the US. Almost two decades later, Travels in the Scriptorium (2006) creates another Western American fiction by moving forward and describing a parallel nineteenth-century North America and a country called 'the Confederation'. Finally, in Man in the Dark (2008), Auster's effort at the creation of alternative Americas reaches the twenty-first century by showing a country where the 2000 election has led to secession and war. This essay analyses the parallel worlds created by Auster to question American myths and archetypes, particularly as they relate to the origins of the myths behind the creation of the United States of America.     

Peter Kireevskii and the Development of Moscow Slavophilism

Abstract

Although the name of the folklorist Peter Kireevskii is well known to historians of nineteenth-century Russia, comparatively little has been written about his place within the Slavophile circle. Some scholars have treated him as the 'first' Slavophile. Others have questioned whether his views were in any sense really Slavophile at all. This article argues that Peter Kireevskii's life-long interest in Russian folklore was rooted both in his understanding of the Russian countryside and his exposure to the influence of a Russian Romantic tradition that viewed the narod as the authentic representative of national identity. It suggests that Kireevskii was from his youth convinced that Russia possessed a culture and history that was equal in value to any country in the West, but that it was only in the late 1830s that he stressed the role played by Orthodoxy in shaping Russia's development. Although his mature views brought him closer to the Slavophile 'mainstream', there were always some elements that set him apart, perhaps reflecting the fact that Slavophilism was a more eclectic and diverse phenomenon than sometimes realized.     

Locating an American romanticism: Emerson,Cavell, 'Experience'

Abstract

This article reads Ralph Waldo Emerson's 1844 essay 'Experience' as a work of mourning that gives rise to critical reaction in the romantic tradition to specific philosophical ideas New England had imported from Europe early in the 19th century. The author reads this transatlantic interaction in the wider context of journal entries, arguing that the death of Emerson's son is a test to Emerson's philosophy and his literary form, indeed, the highest challenge, against which the claims of philosophy and literature could only fail. Moreover, it is the failure of his philosophy to contain his son's death, to express it, that makes Emerson's essay romantic. Defining romanticism as incompletion: the impossibility of a total system which would include, for example, the death of the other (Cavell, Lacoue-Labarthe, Nancy, Blanchot). This, the author argues, proposes a 'location' for American romanticism that constitutes an adequate response to Critchley's contention, in his reading of Cavell, that Emerson is not, in fact, romantic.     

‘His Complete History’? Revisioning,Recreating and Reimagining Multiple Lives in Frederick Douglass's Life and Times (1881, 1892)

Frederick Douglass's final autobiography, Life and Times of Frederick Douglass, remains a critically neglected work. On first glance, the Frederick Douglass of editions of this work published in the 1880s and 1890s seems to be a million miles away from the fiery, charismatic radical of the 1840s and 1850s. Probe deeper, however, and continuities remain vis-à-vis Douglass's commitment to literary experimentation in radical recreations, representations and reimaginations of an ever shifting and even contradictory public selfhood. Thus, Douglass's final work performs the deflating but fascinating work of a magician seeming to reveal the secret of his trick as he provides his readers with a self-reflexive, hybrid work in which he refuses to shy away from the ambiguities and ambivalences of his multiple existences.     

'The world will be saved by beauty': The Revival of Romantic Theories of the Symbol in Pavel Florenskii's Works

Abstract

From a study of Pavel Florenskii's (1882–1937) works on the symbol from the 1920s, it is suggested that Florenskii's understanding of symbolism bears witness to the revival of romantic theories at the end of the nineteenth and the beginning of the twentieth centuries. The continuity between romantic theories of the symbol and Florenskii's understanding of the symbolic image has not previously been noted. However, the closeness of Florenskii's writings and Viacheslav Ivanov's on the symbol has been noticed, while Ivanov's indebtedness to the German romantics has long been known. Thus, another relatively little studied dimension of Florenskii's work is uncovered and, in particular, his involvement with Russian Symbolism and with its main theoretical spokesman. Florenskii's understanding of the symbol is seen in the context of developments growing out of the October Revolution, but also, more broadly, as a response to the crisis of modernity. The romantic definition of the symbol, as accepted by Florenskii, is an attempt to restore the lost sense of belonging to 'higher' reality through the ontological identity between 'being' and 'thing'. The mission of art in this project is of fundamental importance and it can be summed up in the famous words of Dostoevskii's character, Prince Myshkin, in The Idiot: 'beauty will save the world'.