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Auditory Aesthetics and Literary Re-mappings: Trans-medial Forays into Joyce’s Ulysses and Beckett’s Ping

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Ronit Ghosh

Aalborg University, Denmark. Email: gronit79@gmail.com. ORCID: 0000-0002-8668-1286.

 Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.16

Received May 15, 2017; Revised July 21, 2017; Accepted July 25, 2017; Published August 10, 2017.

Abstract

In the present era binaries like poesis/techne or art/non-art are becoming increasingly tenuous with the emergence of New Media art cultures, where technology becomes an integral part of artworks. A spurt of commentaries regarding how New Media has redefined the cognitive, perceptual and artistic limits of what is traditionally regarded as art has resulted. However, there is a dearth of literature on how the conceptual vocabulary of contemporary or traditional art/literary practice has seeped into the precincts of the New Media art world. This, unfortunately, accounts for the current disconnect between contemporary art (which is conceived as conceptual art that is self-reflexive and meta-critical in character) and New Media art discourse (whose distinguishing feature is its tryst with technological implements). In an effort to bridge the conversational lacuna between the literary and the new media art disciplines, this paper indicates formal/structural tendencies in James Joyces’s novel Ulysses and Samuel Beckett’s short story Ping that evince receptive/interpretive tactics which significantly anticipate trends in Media art of the current times.

Keywords: New Media art, perception, Beckett, Joyce, transmedial

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Lawrence’s response to Futurism in the letters vis-à-vis his representation of “what the woman is” in The Rainbow

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Joyjit Ghosh

Associate Professor, Department of English, Vidyasagar University, Midnapore, West Bengal, India. Email: pathu_ghosh@yahoo.co.in

 Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.15

Abstract

D.H. Lawrence, as a conscious artist, was very much acquainted with contemporary art movements. A close study of his letters shows that Futurism as an artistic/literary movement appealed to him when he was passing through a transitional phase in his career as a novelist. The attempts of the Futurists to purge emotions of “the old forms and sentimentalities” was appreciated by Lawrence although he did not like their “ultra scientific” ventures to represent mental states. The present essay seeks to analyse two letters of Lawrence written in 1914 where he gives his response to Futurism, and at the same time it attempts to explore how this avant-garde art movement shaped the imagination of the author in conceiving the major women characters of The Rainbow (1915).

Keywords: Ego, Futurism, Marinetti, Self, Woman

The Christian Precedent Phenomena in L. N. Tolstoy’s Novel “Resurrection”

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Gulzhan Raspaeva

Associate Professor, South Ural State National Research University, Russia. Email: daintyg@yandex.ru

 Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.14

Received May 10 07, 2017; Revised July 11, 2017; Accepted July 25, 2017; Published August 10, 2017.

Abstract

The paper aims to study the specificity of the precedent phenomena with the sphere-source “Christian religion” and their functioning in the novel “Resurrection” by L. N. Tolstoy. The Christian precedent phenomena are investigated within the framework of the linguo-cognitive theory of precedent phenomena. The article analyzes the principal types of precedent phenomena taking into account the possibilities of their transformations in the novel: the precedent names (Jesus Christ, Blessed Virgin Mary, etc.), the precedent utterances, the precedent texts (the Acts of the Apostles, the New Testament, etc.) and the precedent situations. The use of a large number of Christian precedent phenomena is explained by L. N. Tolstoy’s religious and philosophical system built on the commandments of Jesus Christ written in the New Testament. The Christian precedent phenomena represent an orienting point for moral postulates included in the strands to the plot of the novel “Resurrection”. L. N. Tolstoy did not transform the majority of the Christian precedent phenomena due to his devout attitude to the New Testament as a sacred source, each element of it needs to be reproduced exactly.

Keywords: L. N. Tolstoy, precedent phenomena, Christian, New Testament, Novel, Resurrection

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The Aesthetics of Balloon View in Bleak House

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Reema Raveendran Nair

School of Letters, Mahatma Gandhi University, Kerala. Email: reemarnair@gmail.com

 Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.13

Received May 14 07, 2017; Revised July 13, 2017; Accepted July 20, 2017; Published August 10, 2017.

Abstract

Social thinkers on space and place have reiterated that viewing a space/place from a high vantage point involves certain powers and pleasures.  However, there are alternate ways in which the aerial views have been experienced and represented. This article argues that the bird’s-eye-view of London in the opening chapter of Charles Dickens’ Bleak House is an instance of such an alternate representation. While the maps and panoramas of the nineteenth century represented the city as legible and knowable, the hot-air-balloon ascent, a popular form of entertainment in Victorian London, presented the city as obscure and incomprehensible. This very aesthetic of obscurity and incomprehensibility embodied in the balloon view is incorporated in the famous bird’s-eye-view of London in Dickens’ Bleak House. How this obscurity of vision, which is the most defining experience of the city in the novel, extends to the theme of the novel, is also explored in this article.

Keywords: Bird’s-Eye-View, Balloon View, Victorian London, Bleak House.

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The Birth of Eve in Fuseli’s, Blake’s, Groom’s and Petrina’s Illustrations of Paradise Lost

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Laleh Atashi1  & Alireza Anushiravani2

1Assistant Professor of English Literature, Department of Linguistics and Foreign Languages, Shiraz University , Iran. Email: lalleh.atashi@shirazu.ac.ir

2Professor of Comparative Literature, Department of Linguistics and Foreign Languages, Shiraz University , Iran. Email: anushir@shirazu.ac.ir

Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.12

Received April 07, 2017; Revised July 24, 2017; Accepted July 27, 2017; Published August 10, 2017.

Abstract

In this paper, we are going to analyze how Milton’s Eve has been illustrated by Fuseli, Blake, Groom and Petrina. The purpose is to see to what extent the artists reflect, challenge or write back to the text they are illustrating.  This study focuses on the way the four illustrators have presented the moment of Eve’s creation. Blake and Fuseli illustrated the poem at the end of the 18th and at the beginning of the 19th century. Petrina and Groom, two woman artists, illustrated Paradise Lost in 1930s. The four illustrators’ depictions of Eve are informed by different cultural discourses and gender ideologies dominant at the time they were produced.

Keywords: Eve,  Paradise Lost, Milton, Illustration, Blake, Fuseli, Groom, Petrina.

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Repository of Carnivalism in Shakespeare’s Titus Andronicus

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Maryam Navidi1 , Fazel Asadi Amjad2

1PhD Candidate of English Language and Literature, Tehran University, Alborz Campus, Iran. Navidi.m@ut.ac.ir

2Full Professor of English Language and Literature, Tehran, Tarbeyat Moalem University, Iran. Asadi @ khu.ac.ir

Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.11

Received April 07, 2017; Revised July 24, 2017; Accepted July 27, 2017; Published August 10, 2017.

Abstract

This study is attempt to examine Bakhtin’s Carnivalism as international theory in  Shakespeare’s Titus Andronicus. The proposed goal in the study concerns with Bakhtin’s Carnivalism as the rhizomatic, discriminative, international  theory. The major concern of this argument is to historically and internationally goes beneath the surface level of Carnivalism, in order to lay bare the multiple labyrinth  of this theory due to historical facts. It supposes that Shakespeare’s Titus Andronicus has depicted Carnivalism in trans-cultural ways that erasing the cultural, ritual difference of people, in order to make the cohesive combined hybrid which is visible in the characters of Shakespeare’s Titus Andronicus, such issues bears the various studies in the different fields.

Keywords: Carnvalism, Play, Shakespeare, History, Character.

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‘Never shame to hear / What you have nobly done’: The Representation of Existential Shame in Shakespeare’s Coriolanus

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Bilal Tawfiq Hamamra

Department of English, An-Najah National University, Palestine.

Email: bilalhamamra@najah.edu

Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.10

Received May 10, 2017; Revised July 24, 2017; Accepted July 27, 2017; Published August 10, 2017.

Abstract:

This article focuses on the uncanny prefigurations of existentialism in Shakespeare’s final tragedy Coriolanus (1608). The researcher contends that Coriolanus is riddled with the existential concepts of individualism, authenticity, the relationship between the self and the other, the dynamics of subjectivity and objectification, the other gaze, shame, bleeding, blush and bodily and linguistic abhorrence. Shakespeare suggests that Coriolanus experiences these existential manifestations in his attempt to create his identity away from the gaze and language of the other that challenges his self fashioning. In contrast to the negative treatment of the Other in Sartre’s doctrine, the researcher follows Beauvoir’s argument that the self-other relation is potentially mutual. The author argues that Coriolanus achieves his subjectivity and self-assertion, which is also, paradoxically, self-negation, by acknowledging his mother, wife and son and Romans whom he strives to deny throughout the tragedy so as to assert his independence.

Key words: bleeding, blush, existentialism, linguistic abhorrence, sacrifice, shame

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The Promise and the Lie of Humanities

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Mohamed Shafeeq Karinkurayil

Post Doctoral Fellow, Manipal Centre for Philosophy and Humanities (MCPH), Manipal University, Karnataka. Orcid Id: 0000-0002-8163-0594. shafeeq.vly@gmail.com

Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.07b

Received May 20, 2017; Revised July 02, 2017; Accepted July 10, 2017; Published August 10, 2017.

Abstract

The rising regime of technocracy has generated a slew of self-appraisal on the role of Humanities in the contemporary world, and especially in the institutional location of University. The location of the university is not placed absolutely within the premises of learning but has from the colonial times imbricated itself with the question of social and economic mobility. The university in the postcolonial India continues to be a site of allocation of resources and as such is overdetermined by questions other than the purely academic. This paper delineates the twin concerns for Humanities in India and argues for Humanities which will creatively amalgamate the two concerns that have been worrying it in India – that of the rise of technocracy, and that of a non-complementarity between learner aspirations and institutional requirements. Towards this, the paper advocates on stressing the mutuality of the experience of modernity, thus stressing simultaneity over historicity.

Keywords: humanities, technocracy, India, Sarukkai

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

Myth and Exegesis in Plotinus: How to Divide and Recompose Words and Things

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José María Zamora Calvo

Autonomous University of Madrid, Spain. Email: jm.zamora@uam.es

Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.08

Received May 25, 2017; Revised July 15, 2017; Accepted July 17, 2017; Published August 09, 2017.

Abstract

This paper explores the central thesis of the myth presented by Plotinus in his treatise On Love (III, 5 [50] 9, 24-29). Myth is a narrative that divides and deploys over time structures differentiated only by their “rank” or “powers”. First, the myth teaches, and then allows those who have understood it to “recompose” the data scattered through the discourse. The Hesiodic genealogy –Uranus, Kronos, Zeus– corresponds to the three main hypostases –the One, the Intelligence and the Soul. Likewise, the death and later dismemberment of child Dionysus symbolize the multiplicity and impassivity of sensible matter.

Keywords: myth; Plotinus; exegesis; Neoplatonism; Dionysus

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Globalization and the Modern Non-fiction

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Svetlana Nikolayevna Mashkova

Kostanay State University, Kazakhstan, 110011, Kostanay, Baitursynov Street, 47.

Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.07

Received May 18, 2017; Revised July 15, 2017; Accepted July 17, 2017; Published August 06, 2017.

Abstract

The influence of globalization on the non-fictions of recent decades has caused its commercialization, rapid transfer to the center of the narrative of a completely different character who is often immoral, cynical, far from the Victorian type that dominated in previous decades, replacing it with simulacra. The article aims at exploring the consequences of the globalization development on literary texts including documentary ones, the emergence of new author’s documentary concepts up to pseudo- and quasi-documentary, the transformation of the understanding of literary creativity as a phenomenon, and the comprehension of the literary process through the prism of cultural production and consumption of literary product.

Keywords: globalization, literary creation, documentary, literary production, non-fiction, quasi-documentary literature.

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

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