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[Abstract] A constitutive part of both communication and culture is the possibility to act in a free and unrestricted way, without being censored. Censorship, the act of censoring a text — be it a literary text, a newspaper or a movie —, is a large topic and its discussion necessarily has to include political, sociological and economic aspects in addition to the analysis of the actual changes of the text. As a matter of fact, even if confined to censoring films, it is too large a topic to be discussed in a short contribution. Accordingly, the paper will deal only with one small and very special subject that — though it might be considered marginal to the overall problem — sheds light on the view on censorship from within the medium: The paper will give some examples of how the issue is presented in movies and thus focus on the discussion of self-referential filmic modes of discourse and not on the analysis of censorship as such. In order to deal with the variety of manifestations, 'censorship' will be used here in the widest sense, covering the range from selfregulation, that is forms of self-imposed control, to actual direct state censorship (in advance as well as on the finished product) or to its milder contemporary form of a rating system. The agents will be both official censors, working on a large scale for an entire country, and local authorities, like the representatives of the Church, who simply ordered the local exhibitors to cut certain scenes, otherwise the population of the village would hear the strong disapproval of the movie during Sunday morning services. Apart from these stories about controlling the filmic text, a second group of examples will include the rare cases of an actual and deliberate onscreen presentation both visual or verbal of censorial practices

[Abstract] A constitutive part of both communication and culture is the possibility to act in a free and unrestricted way, without being censored. Censorship, the act of censoring a text — be it a literary text, a newspaper or a movie —, is a large topic and its discussion necessarily has to include political, sociological and economic aspects in addition to the analysis of the actual changes of the text. As a matter of fact, even if confined to censoring films, it is too large a topic to be discussed in a short contribution. Accordingly, the paper will deal only with one small and very special subject that — though it might be considered marginal to the overall problem — sheds light on the view on censorship from within the medium: The paper will give some examples of how the issue is presented in movies and thus focus on the discussion of self-referential filmic modes of discourse and not on the analysis of censorship as such. In order to deal with the variety of manifestations, 'censorship' will be used here in the widest sense, covering the range from selfregulation, that is forms of self-imposed control, to actual direct state censorship (in advance as well as on the finished product) or to its milder contemporary form of a rating system. The agents will be both official censors, working on a large scale for an entire country, and local authorities, like the representatives of the Church, who simply ordered the local exhibitors to cut certain scenes, otherwise the population of the village would hear the strong disapproval of the movie during Sunday morning services. Apart from these stories about controlling the filmic text, a second group of examples will include the rare cases of an actual and deliberate onscreen presentation both visual or verbal of censorial practices.

Reading a text is an ethical activity for Emmanuel Levinas. His moral philosophy considers written texts to be natural places to discover relations of responsibility in Western philosophical systems which are marked by extreme violence and totalizing hatred. While ethics is understood to mean a relationship with the other and reading is the appropriation of the other to the self, readings according to Levinas naturally entail relationships with the other. Levinas's own writings are often frought with the struggle between his own maleness, the concerns of feminism, and the Judaism that marks his contributions to the debates of the Talmud. This book uses male feminism as its perspective in presenting the applications of Levinas's ethical vision to texts whose readings have presented moral dilemmas for women readers. Levinas's philosophical theories can provide keys to unlock the difficulties of these texts whose readings will provide models of reading as ethical acts beginning with the ethical contract in Song of Songs where the assumption of a woman writer begins the elaboration of issues that sets a male reader as her other. From the reader's vantage point of seeing the self as other, other issues of male feminism become increasingly poignant, ranging from the solicitude of listening to Céline (Chapter 2), the responsibility for noise in Nizan (Chapter 3), the asymmetrical pattern of face-to-face relationships in Maupassant (Chapter 4), the sovereignty of laughter in Bataille and Zola (Chapter 5), the call of the other in Italo Svevo (Chapter 6), the Woman as Other in Breton (Chapter 7), the ethical self in Drieu la Rochelle (Chapter 8), the response to Hannah Arendt (Chapter 9), and the vulnerability of Bernard-Henri Lévy (Chapter 10). The male feminist reader is thus the incarnation of the struggle at the core of the issues outlined by Levinas for the act of reading as an ethical endeavor

Main description: Der Band dokumentiert die Beiträge eines internationalen Symposiums, das sich die Klärung und praktische Umsetzung textgenetischer Editionskonzepte zum Ziel setzte. Einen gewichtigen Schwerpunkt in den hier versammelten Aufsätzen bildet die Gegenüberstellung der in Frankreich konzipierten "Critique Génétique" mit Sehweisen der im deutschsprachigen Raum entwickelten Textgenetik. Daneben werden einzelne Editionen nach ihrer textgenetischen Ausrichtung befragt, Einzelprobleme textgenetischer Darstellung diskutiert und Möglichkeiten des Einsatzes elektronischer Datenverarbeitung geprüft. Trotz des hohen Anteils editionsspezifischer Fragen erschließt der Sammelband nicht nur künftigen Herausgebern einen wichtigen Bereich editorischer Tätigkeit, sondern eröffnet auch den nicht mit Editionen befaßten Literaturwissenschaftlern neue Dimensionen der Textbetrachtung.

International audience The hypothesis we would like to formulate is that of an analogy between the capacity of artistic expression to escape from the grip of power and the concept of "aesthetics of existence" as elaborated by Michel Foucault in the early eighties. The basis of this analogy lies in what we would call a textualisation of life: life is seen as a language and on this basis it can be thought of - "written" and "read" - as a text. This extension of the field of language to life occupies an important place in Roland Barthes' last works, but it had been postulated before him by Pier Paolo Pasolini. Pasolini is the first to consider that life can, indeed should, be considered from a perspective that is both political and aesthetic. In Poeta delle ceneri, Pasolini states that one can "write poetry with life". The Italian poet thus opens the way for ethical and political reflection on life as a work of art, and on the work as an example of resistance to the grip of power and as a model in the process of subjectification. ; L'hypothèse que nous voudrions formuler est celle d'une analogie entre la capacité propre à l'expression artistique de se soustraire à l'emprise du pouvoir et le concept d'"esthétique de l'existence" tel que l'élabore au début des années quatre-vingt Michel Foucault. Le fondement de cette analogie réside dans ce que nous appellerions une textualisation de la vie : la vie est vue comme un langage et sur cette base elle peut être pensée – "écrite" et "lue" – comme un texte. Cette extension du domaine du langage à la vie occupe une place importante dans les derniers travaux de Roland Barthes mais elle avait été postulée avant lui par Pier Paolo Pasolini. Pasolini est le premier à considérer que la vie peut, voire doit, être considérée dans une perspective qui est à la fois politique et esthétique. Dans Poeta delle ceneri, Pasolini affirme qu'on peut « écrire de la poésie avec la vie ». Le poète italien ouvre ainsi la voie à une réflexion éthique et politique sur la vie comme œuvre d'art, et ...

ABSTRACT
This essay traces the impact of the wider ideological landscape regarding "identity politics," interpretive practice, and literature of the 1970s on Judith Fetterley's The Resisting Reader. Specifically, it tracks the traces of Black and women of color feminist organizing legible in Fetterley's text, as well as those left by social movements operating at the University of Pennsylvania in 1971. Though these traces go unattributed, this article argues that their presence offers an opportunity to read, as Fetterley might put it, a closed system from "without." The author's resistant reading of Fetterley's text suggests how her "radical feminism" calls for a distinct attention to the materialist operations of academic and literary institutions in an investigation of their racialized, patriarchal power.

Introduction. Bookish Circles, Texts, and Textual Production in the Ancient Mediterranean / Jonathan Norton (Heythrop College, University of London, UK), Lindsey Askin (University of Bristol, UK), Garrick Allen (University of Glasgow) -- 1. Sympotic Learning: Symposia Literature and Cultural Education / Sean Adams (University of Glasgow, UK) -- 2. Learning Among Jewish Social Groups in Ptolemaic Egypt / James K. Aitken (University of Cambridge) -- 3. The Social Stratification of Scribes and Readers in Greco-Roman Judaism / Lindsey Askin (University of Bristol, UK) -- 4. Teaching and Learning in the Dead Sea Scrolls / Annette Steudel (Georg-August Universitt̃, Germany) -- 5. Adult Teaching and Learning in Philosophical Schools: The Cases of Epictetus and Calvenus Taurus / Michael Trapp (King's College, UK) -- 6. Ethics or Halacha? 'Calling' as a Key to the Dynamics of Behaviour According to Paul. A Reflection on 1 Corinthians 1:1-11 / Bart Koet (Tilburg School of Catholic Theology, Belgium) -- 7. 'Beyond the Things that are Written: Literacy and Social Circles in Paul's Churches / Jonathan Norton (Heythrop College, University of London, UK) -- 8. Hyperacusis and Relevance in the Lukan Echochamber / Steve Smith (University of Chichester; St Mellitus College, UK) -- 9. II Corinthians, I Clement and Jewish Scripture / Drake Williams III (Tyndale Theological Seminary, the Netherlands) -- 10. Literacy and Hebrew as Written Language in the Hellenistic-Roman Period and Early Rabbinic Texts / Ingo Kottsieper (Westphalian Wilhelms University Münster, Germany) -- 11. Libraries, Special Libraries, and the New Testament: Text-centred Events and the Composition of the Book of Revelation / Garrick Allen (University of Glasgow, UK) -- 12. Bookish Circles? The Use of Written Texts in Rabbinic Oral Culture [repr. from Temas Medievales 2017] / Catherine Hezser (SOAS, University of London, UK) -- Bibliography -- Index.

ABSTRACT:
This article explores how Herman Melville uses the elegant structure of the April Fool's Day prank to anticipate not only the critical and commercial failure of his final novel in 1857, but also the proclivities of the twentieth-century literary scholar. The Confidence-Man simultaneously invites and defies the many attempts to read it as allegory and, through a series of increasingly antagonistic metafictional interludes, Melville's narrator berates his imagined reader and, vicariously, all his readers for their delusional expectations, hypocritical standards, and otherwise irrational reading habits.

ABSTRACTThis thesis explores the ways in which Orhan Pamuk and his pre-Nobel novels in English translation were recontextualized, i.e. received and (re)presented, in translation and journalistic discourse in the UK and USA, two major centers of the Anglophone literary world. The English translations of Pamuk's books and their reception as presented in the reviews or other journalistic articles are inarguably two crucial factors in establishing Orhan Pamuk as a writer of world literature. Therefore, the analyses in the present study focus on the translations themselves on one level and on another, the journalistic texts, such as reviews, interviews with and news articles about Pamuk, all of which form the discourse surrounding Pamuk's novels, shaping and representing their reception in the target cultures. The corpus of the present study comprises Pamuk's pre-Nobel novels, namely The White Castle (1990), The Black Book (1994 and 2006), The New Life (1997), My Name is Red (2001) and Snow (2004). Among these, The Black Book in its two translations, and Snow, Pamuk's last novel published in English translation before he won the Nobel Prize in 2006, are subjected to comparative textual analysis as two case studies. The analyses of the journalistic texts reveal that the (re)presentation, hence the reception, of Pamuk's novels are heavily marked by "metonymics" (Tymoczko 1999), the representative potential of literary translations to stand for the socio-cultural, political and historical realities of their source culture. In this respect, Pamuk's novels are linked, in the overwhelming majority of these texts, to a broader discourse on Turkey's identity and status in world politics and in what is conceptualized as "the Muslim world", mainly described in terms of the idea of "clash of civilizations". As such, the novels were received and presented as providing insights into the history, politics and cultural identity of the country. Orhan Pamuk's own influence on this reception was also demonstrated by the analysis of ...

By examining the dynamic interplay between discourses of fiction and medicine, Novel Medicine demonstrates how fiction incorporated, created, and disseminated medical knowledge in China, beginning in the sixteenth century. Critical readings of fictional and medical texts provide a counterpoint to prevailing narratives that focus only on the "literati" aspects of the novel, showing that these texts were not merely read, but were used by a wide variety of readers for a range of purposes. The intersection of knowledge—fictional and real, elite and vernacular—illuminates the history of reading and daily life and challenges us to rethink the nature of Chinese literature. The open access publication of this book was made possible by a grant from the James P. Geiss and Margaret Y. Hsu Foundation.

Resumen: Se aborda la discusión sobre las historiasliterarias colombianas en relación con el concepto delcanon a partir de la pregunta por el lugar que ocupa laproducción literaria femenina en las concepciones sobrelo que ha sido la literatura en este país. Se examinan, ala luz de de la categoría de género, los procesosliterarios que han configurado la tradición canónicaen el país, constatando cómo se han ignorado las vocesde las mujeres y con ello, sus textos se han perdido muchasveces. Este panorama comienza a cambiar con el trabajocrítico de María Mercedes Jaramillo, Angela InésRobledo, Flor María Rodríguez Arenas, Betty Osorio deNegret, Luisa Ballesteros. En su trabajo se repiensan lasbases de la nación moderna, desde una perspectiva quequiere integrar discursos que han permanecido periféricos.Se emplea el concepto de campo literario desarrolladopor Pierre Bourdieu, en el cual es central laproblemática de la distribución de capital cultural ypoder para examinar la posición de las mujeres en elcampo literario colombiano. Finalmente, se orienta laindagación hacia la recepción: ¿Cómo fueron recepcionadaslas obras escritas por mujeres? ¿Qué posibilidadestuvieron de circulación? ¿Desde qué presupuestosfueron leídas? La consideración concienzudade estas interrogantes permitirá construir una visión másamplia y más real del pueblo y de la cultura en Colombia.Palabras clave: historia literaria, canon, género,mujeres, campo literario, recepciónAbstract: This article discusses Colombian literaryhistory in relation to the concept of the canon, startingout from the question about the place the literaryproduction by women occupies in the conceptions aboutliterature in this country. In light of the category ofgender, the literary processes that have given shape tothe canonic tradition in Colombia are examined,discovering how women's voices have been ignored,leading often to the loss of their literary texts. Thispanorama begins to change with the critical work ofMaría Mercedes Jaramillo, Angela Inés Robledo, FlorMaría Rodríguez Arenas, Betty Osorio de Negret, LuisaBallesteros, where the bases of the modern nation isrethought, from a perspective that would integratediscourses that have remained peripheral.The concept of literary field advanced by PierreBourdieu, in which the problem of the distribution ofcapital and power is central, is used to examine theposition of women in the Colombia literary field. Howwere the works by women received? What possibilitiesdid they have of being distributed? From whatpresuppositions were they read? The conscientiousconsideration of these questions will allow for theconstruction of a wider view of the Colombian peopleand their culture.Key words: literary history, canon, gender, women,literary field, reception

Classical scholarship in twelfth-century Byzantium / Anthony Kaldellis -- The literary, cultural and political context for the twelfth-century commentary on the Nicomachean ethics / Peter Frankopan -- The Aristotelian ethics in Byzantium / Linos G. Benakis -- Neoplatonic source-material in Eustratios of Nicaea's commentary on Book VI of the Nicomachean ethics / Michele Trizio -- Eustratios of Nicaea's 'Definition of being' revisited / David Jenkins -- Eustratios of Nicaea on the separation of art and theology / Charles Barber -- The anonymous commentary on Nicomachean ethics VII : language, style, and implications / Elizabeth A. Fisher -- Michael of Ephesus on the empirical man, the scientist and the educated man (in Ethica Nicomachea X and in De partibus animalium I) / George Arabatzis -- Some observations on Michael of Ephesus' comments on Nicomachean ethics / Katerina Ierodiakonou

The never-ending contemporaneity of William Shakespeare's Macbeth is established by the experimental adaptations of the play that have transcended time and space. The filmic adaptations, in particular, have recontextualized the original dramatic text in several innovative ways. This paper sets out to analyse from certain postmodern angles the creative and innovative adaptation of a classic literary text from a Scottish setting to two completely different Indian settings (geographically, culturally and politically) and also from 16th century Scotland, United Kingdom to two different time periods in India– Maqbool (director Vishal Bhardwaj, 2003) being a reimagination of Macbeth set in the 21st century underworld of Mumbai, India and Veeram (director Jayaraj, 2016) being an attempt to link the play with 13th century Kerala, India. The transmutations occur at multiple levels and this lends new interpretations to the text in two entirely different temporal and spatial contexts, though both of these adaptations are Indian. Santrauka Williamo Shakespearre'o Makbeto nesenkantį šiuolaikiškumą steigia pjesės ekperimentinės adaptacijos, peržengiančios laiką ir erdvę. Filmų adaptacijose visų pirma keletu inovatyvių būdų buvo atnaujintas originalus dramos tekstas. Iš tam tikrų postmoderniojo požiūrio taškų straipsnyje siekiama išanalizuoti klasikinės literatūros teksto škotiškojo varianto bei dviejų visiškai skirtingų indiškųjų versijų (geografine, kultūrine ir politine prasmėmis) kūrybines ir inovatyvias adaptacijas, taip pat pasitelkiant XVI amžiaus Škotijos (Jungtinė Karalystė) du skirtingus laikotarpius apimančias indų interpretacijas– Makbulą (režisierius Vishalas Bhardwajus, 2003), kuris yra Makbeto varianto naujas pervaizdavimas XXI amžiaus Mumbajaus (Indija) pogrindinio pasaulio kontekste, ir Viramą (režisierius Jayaraj, 2016), kuriame bandoma susieti pjesę su XIII amžiaus Kerala (Indija). Šie perkeitimai įvyksta daugeliu lygmenų ir inspiruoja naujas teksto interpretacijas dviejuose visiškai skirtinguose laiko ir erdvės kontekstuose, nors abi šios adaptacijos ir yra indiškos. Reikšminiai žodžiai: adaptacija, drama, filmas, postmodernizmas, rekontekstualizavimas, Williamas Shakespeare'as.

For generations, alphabet books have been widely used by parents, librarians and teachers as early literacy tools for young children. Through images, word play and the interactions between word and image, alphabet books have the effect of introducing preliterate young children to the names, images, symbols and concepts regarding animals, what Matthew Calarco has called 'symbolic mechanisms' of animals—names, images, concepts, cultural associations of animals—yet they can also be deconstructive of those same mechanisms. Derrida's insights into the contradictory logic of the supplement and parergon as well as the 'destabilising synergies of word and image' offer deconstructive readings of alphabet books for adult and child readers. Recognising what Derrida calls the 'childlike' in texts such as alphabet books creates unique polymorphous spaces for the further interrogation of notions of animals.

The subject of this paper is the interdependence between three works: Clarice Lispector's Água Viva, Hélène Cixous's 'See the Neverbeforeseen' and Roni Horn's Rings of Lispector (Água Viva). It begins by exploring by what means, according to Cixous's reading, Lispector subverts the order of language and narrative, the logic of representation and the concept of 'The Author' in Água Viva. We then look at how Horn's 'plastic-surgical interpretation' of Lispector's text further dislocates this order and how it permits us to experience the becoming unreadable of the readable and the becoming readable of the unreadable. The second half examines the analogical use made of the Borromean rings by Cixous in presenting the topological relation between herself, Lispector and Horn and its 'capture [of] the secret of the intangibility of the intangible'.