1,721,108 research outputs found
The corpse, the machine, the garden: immagini di guerra e ideologia pastorale in The Orchard Keeper
Full text linkCormac McCarthy’s The Orchard Keeper is generally considered to be a requiem for the Southern pastoral idyll. Critics have already noticed how the author makes use of the classic "machine in the garden" motif to exemplify the destructive effects of historical and technological progress on the mythical dimension of the pastoral world. This detrimental intrusion is embodied in the novel by an enigmatic "government tank" and by the hidden corpse of a military veteran turned highwayman. Through the interpretation of these symbols as figurations of both WWI and WWII, this essay posits the centrality of war itself as the main threat to the pastoral order of life
A Darkness Endemic to Mississippi: Jesmyn Ward’s Haunted Places
Full text linkThe literature of the Southern United States has always been expression of a multilayered connection with ‘place,’ a complex term encompassing identity, history, and politics. Because of its distinctive history, the South’s literary landscapes are often haunted by real and metaphorical ghosts: simulacra of the region’s burdensome and blood-soaked legacy. A narration that acknowledges the existence of specters further complicates the representation of southern space through the polysemic, unpredictable connection with the netherworld. The traditional chronotope of the South, that of the self-supporting idyll, is forced to interact with a repressed, troubling beyond. Haunted places enable forms of counter-communication that challenge the status quo, because, as Jacques Derrida writes, addressing ghosts is also a quest for justice that goes beyond the living present. In the case of a political author like Jesmyn Ward, the commitment to justice is clearly expressed in her use of gothic tropes as a way to channel and revive the suffocated voices of the past. Ward’s work questions the present and restores the dark corners of her native Mississippi’s history. Through theories of literary spaces and hauntology, this essay analyzes Ward’s militant poetics, and how they are grounded in the relationship between immanent and transcendental landscapes
Manifest destiny: the American west as a map of the unconscious
Full text linkThe aim of this essay is to analyze the role of space and the different layers of significance associated to it in the Image Comics series Manifest Destiny. The American frontier epic still stand as one of the vastest and most important mythological sources of the US. The frontier space is not of course limited to its geographical dimension – at least from 1893 onwards, when the “closure” of the frontier and the publication of the Turner Thesis made it a polysemic “place” in which psychological, political and social elements met and conflicted with one another. Since the definition of this space was always dependent upon ideological stances, its depiction has always oscillated between the poles of Utopia and Dystopia, blending realism, imagination and ideology. Manifest Destiny is not an exception – its spatial dimension conjugates history and mythology, while also showing the strong influence of popular culture and pulp culture’s horror and weird literature, mainly via its most famous author: H. P. Lovecraft. Through the use of some classical outlooks on the American frontier like Frederick Jackson Turner and Richard Slotkin’s theses, together with some more general contributions on the cultural and narrative meaning of space like Edward Soja’s Thirdspace, Yi-Fu Tuan’s human geography and Ruth D. Weston’s analysis of the gothic space, the essay goes through the “mindscape” projected by Manifest Destiny’s geography and addresses its symbolic and allegorical meaning. As a result, the series’ unconventional take on American mythology and its iconoclastic political agenda are thoroughly deconstructed and examined
Out of Eden: Old-South, Post-South and Ur-South in Sara Taylor's The Shore
Full text linkSara Taylor’s The Shore is ex-centric in many ways. As for the setting, it geographically and socially depicts a fringe of the already-peripheral Appalachian culture, shedding a new and interesting light on the Southern “sense of place” through the use of magical-realistic elements that actually connect characters and landscape. Geography, though, is but the palimpsest. The book’s liminality is further reinforced by the fact that The Shore’s long and violent familiar history is chiefly narrated through the voices of six generations of women struggling not to be silenced by the all- embracing southern patriarchy. Considering both the psycho-geographical and socio-historical dimensions described by Taylor, this essay will show how The Shore stands as a counter-dynastic novel giving a voice to those who were excluded from the South’s self-projected image-in-place. Also, through its comprehensive outlook on southern history, the novel chronicles the (frustrated) effort to overcome postmodern placelessness via an-other way of constructing southern identity
Giorgio Mariani (a cura di), narrazioni della distruzione: scrivere la Seconda guerra mondiale (Fictions - studi sulla narratività XIII)
No full textNick Cave. Preghiere di fuoco e ballate assassine
No full textEsplosioni di rabbia disarticolata e afflati lirici da poeta romantico; capace di passaredal linguaggio sboccato del teppista di strada all’inglese barocco di un maestro del modernismo nordamericano come William Faulkner, Cave è un cantautore dal sapere letterario vasto e caotico. La sua musica esplora il lato più buio della vita, insistendo sul male insito in ognuno di noi, sulla pervasività del peccato e sulla ricerca spesso vana della redenzione.John Milton, Flannery O’ Connor, John Berryman, Leonard Cohen, l’Antico testamento, Cormac McCarthy, Michael Ondaatje, murder ballads e Robert Burton lo accompagnano attraverso un paesaggio ora infernale e ora edenico, dove si raccontano i destini tragici, cruenti e surreali di un’umanità perduta ma ancora capace di trovare una bellezza terribile nella fragilità dell’esistenza
Giorgio Mariani (a cura di), narrazioni della distruzione: scrivere la Seconda guerra mondiale (Fictions - studi sulla narratività XIII)
No full textA feeling you cannot name, clocks and time in William Faulkner’s the sound and the fury and Cormac McCarthy’s Suttree
Full text linkThis essay is devoted to a thematic comparative analysis of William Faulkner’s The Sound and the Fury and Cormac McCarthy’s Suttree. Focusing on the recurring watch motif, the aim is to show the evolvement of a pivotal issue in Southern US literature: the troubled relationship with (social) time and history. The comparison is triggered by some passages in which McCarthy clearly rewrites Faulkner’s novel. Quentin Compson, the narrator from the second section of The Sound and the Fury, is obsessed with the passing of time – a fixation which is embodied in the watch that his father gave him. Cornelius Suttree shares the same obsession about time and clocks, and, just like Quentin, he is also tormented by an ambiguous relationship with the Southern aristocratic society he is part of. The Sound and the Fury and Suttree are hence tied together in their critique of the social neuroses of the South through the depiction of a biased sense of time
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