Note on Translation Introduction by Michael Holquist Response to a Question from the Novy Mir Editorial Staff The Bildungsroman and Its Significance in the History of Realism (Toward a Historical Typology of the Novel) The Problem of Speech Genres The Problem of the Text in Linguistics, Philology, and the Human Sciences: An Experiment in Philosophical Analysis From Notes Made in 1970-71 Toward a Methodology for the Human Sciences Index

Speech Genres and Other Late Essays

Approved: ____________________________________ Thesis Supervisor ____________________________________ Title and Department ____________________________________ Date

https://ir.uiowa.edu/cgi/viewcontent.cgi?article=1741&context=etd

Reading nature religiously: Lectio Divina, environmental ethics, and the literary nonfiction of Terry Tempest Williams

This thesis investigates what can be learned from the drawn gesture on paper by locating it in the historical context in which it was made. This ‘contextualist’ approach to drawing analysis is derived from the methodologies used for text analysis in intellectual history. Intellectual historians recapture the meaning a text conveyed to its original readers by reconstructing the ‘language game’ of the author. The game has two dimensions in this approach: the concepts and practices that define the cultural norms of the author’s society and intellectual community, and might be described as the ‘rules of the game’, and the creative ‘moves’ made by individuals within these parameters as participants in a discourse with the author that constitute the game’s ‘play’. This thesis proposes to expand the field of intellectual history by incorporating the dimension of gesture into the moves of the language game to allow drawing and writing to be studied together. This gestural dimension of the linguistic move constitutes artistic practice in the terms of this thesis. The ramifications of its incorporation into the play of discourse are illustrated in a case study of the first part of Captain Cook’s Endeavour voyage of Pacific exploration from 1768 to 1771, the voyage to Tahiti to observe the transit of Venus. 

Part One, ‘Intellectual Parameters,’ constructs a model of Georgian civil society that provides the foundation for the linguistic context in which the expedition’s manuscripts of texts and drawings will be read in the chapters of the thesis. Part Two, ‘Drawing Practices,’ applies this model to develop a detailed picture of the expedition’s working community by reconstructing the artists’ drawing sessions in the Atlantic. Part Three, ‘Discourse,’ interprets the drawings of Tupaia, the man who joined Cook’s voyage to travel to England, and his discourse through the bridging languages of navigation and cartography with several members of the expedition, to produce a new reading of the Endeavour’s purpose of discovery in the South Pacific and Cook’s claims to possession.

Collaborative drawing on Captain Cook's Endeavour voyage, 1768-1771: an intellectual history of artistic practice

This is an original reading of Mikhail Bakhtin in the context of Western philosophical traditions and counter-traditions. The book portrays Bakhtin as a Modernist thinker torn between an ideological secularity and a profound religious sensibility, invariably concerned with questions of ethics and impelled to turn from philosophy to literature as another way of knowing. Most major studies of Bakhtin highlight the fragmented and apparently discontinuous nature of his work. Erdinast-Vulcan emphasizes, instead, the underlying coherence of the Bakhtinian project, reading its inherent ambivalences as an intersection of philosophical, literary, and psychological insights into the dynamics of embodied subjectivity. Bakhtin's turn to literature and poetry, as well as the dissatisfactions that motivated it, align him with three other "exilic" Continental philosophers who were his contemporaries: Bergson, Merleau-Ponty, and Levinas. Adopting Bakhtin's own open-ended approach to the human sciences, the book stages a series of philosophical encounters between these thinkers, highlighting their respective itineraries and impasses, and generating a Bakhtinian synergy of ideas.

Between Philosophy and Literature: Bakhtin and the Question of the Subject

Ross uses theoretically grounded notions of voice to propose new ways of explaining how Faulkner's novels and stories express meaning, showing how Faulkner used the affective power of voice to induce the reader to forget the silent and originless nature of written fiction. Ross departs from previous Faulkner criticism by proceeding not text-by-text or chronologically but by constructing a workable taxonomy, that defines the types of voice in Faulkner's fiction: phenomenal voice, a depicted event or object within the represented fictional world: mimetic voice, the illusion that a person is speaking psychic voice, one heard only in the mind and overheard only through fiction's omniscience: and oratorical voice, and overtly intertextual voice that derives from a discursive practice - Southern oratory - recognizable outside the boundaries of any Faulkner text and identifiable as part of Faulkner's biographical and regional heritage.

Heart in Conflict: Faulkner's Struggles with Vocation@@@Fiction's Inexhaustible Voice: Speech and Writing in Faulkner

List of illustrations Acknowledgments 1. Introduction: critical paradigms and problems 2. The privilege - and problem - of narrative authority 3. Modernist and postmodernist travels 4. Nostalgia and the spectacle of modernity 5. Perpetual wartime 6. The allure of authenticity Conclusion Notes Selected bibliography.

/pdf/travel-narrative-and-the-ends-of-modernity-391rgfpfek.pdf

Travel Narrative and the Ends of Modernity

(1995). Benjy, Narrativity, and the Coherence of Compson History. Law & Literature: Vol. 7, Festschrift for W. Wolfgang Holdheim, pp. 207-228.

Benjy, Narrativity, and the Coherence of Compson History

Literature of Travel and Exploration: An Encyclopedia

The speaking subjects of high, proclamatory genres—of priests, prophets, preachers, judges, leaders, patriarchal fathers, and so forth—have departed this life. They have all been replaced by the writer, simply the writer, who has fallen heir to their styles. He either stylizes them (i.e., assumes the guise of a prophet, a preacher, and so forth) or parodies them (to one degree or another). He must develop his own style, the style of the writer. . . . Literature has been completely secularized. The novel, deprived of style and setting, is essentially not a genre; it must imitate (rehearse) some extraartistic genre: the everyday story, letters, diaries, and so forth.—M. M. Bakhtin, “From Notes Made in 1970–71”

Stacy Burton

Papers

Travel Narrative and the Ends of Modernity

Benjy, Narrativity, and the Coherence of Compson History

Literature of Travel and Exploration: An Encyclopedia

Paradoxical Relations: Bakhtin and Modernism

New Genesis: A Mormon Reader on Land and Community