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  • Resultat 1011-1020 av 8197
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1011.
  • Van Meerbergen, Sara, 1981- (författare)
  • Play, parody, intertextuality and interaction : Postmodern Flemish picture books as semiotic playgrounds
  • 2012
  • Ingår i: Barnelitterært forskningstidsskrift. - : Scandinavian University Press / Universitetsforlaget AS. - 2000-7493. ; 3:1
  • Tidskriftsartikel (refereegranskat)abstract
    • Because of their prominent use of artistic illustrations, contemporary Flemish picture books have often been referred to as ‘‘aesthetic picture books’’ in Flanders. In this article, I will argue that the use of art and references to art by no means is a feature that is unique for contemporary Flemish picture books. The use of artistic allusions is only one of many characteristics that contemporary Flemish picture books share with what internationally has come to be described as ‘‘postmodern picture books’’. Typical postmodern features such as play, parody, intertextuality and interaction (between text and reader) will consequently be identified and analysed in works by several Flemish picture book artists. Because of these postmodern features, picture books are furthermore described as ‘‘semiotic playgrounds’’ where readers can become (inter)active readers.
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1012.
  • Van Meerbergen, Sara, 1981- (författare)
  • Spel, parodie, intertekstualiteit en interactie : Postmoderne tendenzen in Vlaamse prentenboeken
  • 2011
  • Ingår i: De Leeswelp. - Antwerpen : Vlabin-VBC. - 1780-3845. ; 17:3, s. 82-85
  • Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
    • In this article some postmodern tendencies in contemporary Flemish picture books are discussed. The theoretical discussion takes its outcome in the anthology Postmodern Picturebooks, edited by Lawrence R. Sipe and Sylvia Pantaleo. Main themes in the article are play, parody, intertextuality and interaction. Work of following Flemish picture book artists is discussed: Isabelle Vandenabeele, Gerda Dendooven, Pieter Gaudesaboos and Tom Schamp.
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1013.
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1014.
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1015.
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1016.
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1017.
  • Whiteley, Giles, 1981- (författare)
  • A Note on Some Unidentified Sources in Mansfield’s Reading from 1907
  • 2017
  • Ingår i: Katherine Mansfield and Russia. - Edinburgh : Edinburgh University Press. - 9781474426138 ; , s. 190-193
  • Bokkapitel (refereegranskat)abstract
    • This chapter examines a number of unattributed quotations taken from Katherine Mansfield’s journals of 1907, documenting her previously unknown reading of the works of three popular Edwardian novelists: Anthony Hope Hawkins, Henry Seton Merriman and Horace Annesley Vachell.
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1018.
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1019.
  • Whiteley, Giles, 1981- (författare)
  • Blanchot’s L’ârret de mort : Allegory and the Trauma of History
  • 2016
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • Blanchot’s L’ârret de mort (1948) has long been recognised as a seminal modernist text, but after Derrida it has tended to be read for its ‘writerly’ qualities. Perhaps for this reason, while scores of readings have focused on Blanchot’s meditations on questions such as the nature of writing, on the figure of night and language, and on parallels to his monumental ‘La Littérature et le droit à la mort’ (1948), the question of history as it is developed in the récit (the spectre of the Holocaust, ‘nach Auschwitz’) has been discussed (e.g. Hess 1999; Rothberg 2000) but not fully examined, nor have the ways in which L’ârret de mort may be reread after the publication of the semi-autobiographical L’instant de ma mort (1994). This paper will examine Blanchot’s translation of history and trauma in the récit, framed through a theoretical discussion of the nature of allegory as translation. Comparing Benjamin’s influential discussion of allegory in his Trauerspiels (1928) with Blanchot’s discussion of similar themes (somewhat differently) in ‘Le langage de la fiction’ (1949), the idea of allegory as a response to historical trauma will be introduced to challenge the idea that ‘there is simply no place for hermeneutical or rhetorical considerations’ (Shaviro 1990) when reading L’ârret de mort. The text operates as an allegory not simply of traumatic French political history (the Munich Crisis, Operation Paula, and more obliquely, the Holocaust), but of Blanchot’s own traumatic history, his experience of surviving a firing-squad recounted in the later récit. It is precisely insofar as Blanchot’s allegory refuses simplistic metaphrase (for instance, in the ways in which the very precision of the text’s dating is displaced - was 13th October 1938 a Wednesday or Thursday?) that we know it to be allegory as such: it is only thus that we know that what is at stake here is not simply a question of mourning but melancholia, the trauma of history, of a wound (τραύμα) which can never be fully healed.
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1020.
  • Whiteley, Giles, 1981- (författare)
  • Cosmopolitan Space : Political Topographies in ‘Lord Arthur Savile's Crime’
  • 2017
  • Ingår i: Victoriographies. - : Edinburgh University Press. - 2044-2416 .- 2044-2424. ; 7:2, s. 124-142
  • Tidskriftsartikel (refereegranskat)abstract
    • This essay responds to Julian Wolfreys’s suggestion that Oscar Wilde’s London is primarily psycho-geographical by seeking to read his texts within the historical and spatial context of late nineteenth-century London. Taking as a test the short story ‘Lord Arthur Saville’s Crime’, this essay deploys the critical insights of Henri Lefebvre to suggest that Wilde’s city writing engages more closely with London life than has been hitherto suggested. Following Lord Arthur on his three perambulations across the city, from Hyde Park and Piccadilly to Covent Garden, through Soho, and finally from St James’s to the Embankment, the article focuses particularly on the ways in which Wilde’s use of what might easily be assumed to be an incidental location, namely Cleopatra’s Needle, invites us to reread the text’s revolutionary politics within the context of the French Revolution. Concluding with a discussion of Wilde’s treatment of London’s ‘cosmopolitan space’, the essay shows that the way in which seemingly stock imagery deployed in Wilde’s representation of the city may in fact be read as part of a wider and complex engagement with both the politics and the aesthetics of space.
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