126 research outputs found
Federman Frenzy:the 'cult' in culture, the 'me' in memory, the 'he' in history - encounters with Raymond Federman
No full textCelebrated American author Raymond Federman is 80 this year. The present volume, which is a collaboration between scholars at Aalborg and Roskilde University, marks this event in addition to introducing Federman to the general public. The volume presents 4 scholarly essays and an inédit encounter between Federman and Elias, featuring both of these authors' texts. These particular texts, as they combine criticism, creative writing, and autobiography can be seen as as an enactment of Federman's concept of 'critificition'
Co-creating with Federman
No full textThis project delves into author, critic and theorist Raymond Federman’s notions about what postmodern literature is, and what the most refined form of it, Surfiction, should entail. The project seeks to investigate the author-reader relationship as seen through Critifiction’s Surfiction propositions, as well as how we, ourselves as readers, make sense of, and interpret the text of Double or Nothing. This is done through the research philosophical assumptions of the postmodern ontology and epistemology, as well as the interpretivist axiology, in combination with the close-reading, deconstruction, and interpretation methods that allow us to use our interpretations of our findings as empirical data. Through our analysis we present examples of the reader’s responsibilities when understanding the textual structure of Double or Nothing in regards to the visual storytelling, and also how the author, Raymond Federman, is present within the metafictional levels of the book. The project also goes in depth about the four persons presented in the novel. Additionally, we interpret that there are in fact an additional two persons at play within the discourse of Double or Nothing, namely the physical author, that produced the book, and the co-creating reader that completes the text as it is read. As made evident by the analysis, the roles of author and reader are interlinked, in parts even equal, in the creation of a Surfictional piece of literature.This project delves into author, critic and theorist Raymond Federman’s notions about what postmodern literature is, and what the most refined form of it, Surfiction, should entail. The project seeks to investigate the author-reader relationship as seen through Critifiction’s Surfiction propositions, as well as how we, ourselves as readers, make sense of, and interpret the text of Double or Nothing. This is done through the research philosophical assumptions of the postmodern ontology and epistemology, as well as the interpretivist axiology, in combination with the close-reading, deconstruction, and interpretation methods that allow us to use our interpretations of our findings as empirical data. Through our analysis we present examples of the reader’s responsibilities when understanding the textual structure of Double or Nothing in regards to the visual storytelling, and also how the author, Raymond Federman, is present within the metafictional levels of the book. The project also goes in depth about the four persons presented in the novel. Additionally, we interpret that there are in fact an additional two persons at play within the discourse of Double or Nothing, namely the physical author, that produced the book, and the co-creating reader that completes the text as it is read. As made evident by the analysis, the roles of author and reader are interlinked, in parts even equal, in the creation of a Surfictional piece of literature
Raymond Federman: Schreiben zwischen Englisch und Französisch.
No full textRaymond Federman, ein Überlebender der Shoah, hat ein genuin bilinguales literarisches Œuvre auf Englisch und Französisch geschaffen. Sprachwahl und Sprachwechsel sind bei Federman noch komplexer als bei Samuel Beckett. Der Forschungsbericht präsentiert den Forschungsstand zur literarischen Mehrsprachigkeit und den literaturwissenschaftlichen Diskurs über Raymond Federman. Der Schwerpunkt meiner Untersuchung wird auf den Zusammenhängen von Sprachwahl, Sprachwechsel und Selbstübersetzung bei Federman liegen.
Das Kapitel Begriffsbestimmungen enthält mit der Zweisprachigkeit die Grundlage von zweisprachigem Schreiben. Emotionalität wird in Hinblick auf die Beziehungen zu Sprache und poetischer Kompetenz präsentiert. Auch bei Sprachloyalität und Einstellung spielen Emotionen eine Rolle. Identität ist als Ausdruck personaler Identität und der Möglichkeit von bilingualer/bikulturaler Identität relevant.
Die bei zweisprachigen Schriftstellern häufig auftretende Selbstübersetzung kann auch bedeuten, dass der Autor sein „Selbst“ inklusive Erfahrungen aus seiner Erstsprache und Ausgangskultur in die Zweitsprache und neue Kultur übersetzt.
Die Methodenreflexion beschäftigt sich mit Interdisziplinarität, den Ausrichtungen von Sprachwissenschaft und dem Spannungsfeld von (Auto)Biographie und Literatur.
Nach einem Überblick über Biographie und Werkentwicklung und einem Exkurs zu Samuel Becketts literarischer Zweisprachigkeit konzentriert sich die Analyse auf die textübergreifende Zweisprachigkeit. Die Entwicklung von Sprachwahl und Sprachwechsel in Federmans literarischer Karriere wird durch Federmans Reflexionen zum zweisprachigen Schreiben abgerundet.
Auf einen Vergleich von Federman und Beckett, der Unterschiede und Gemeinsamkeiten zeigt und ein Modell für Sprachwahl und Sprachwechsel ermöglicht, folgt die Untersuchung des zweisprachigen Romans „La Fourrure de ma Tante Rachel“ und der Selbstübersetzung „Aunt Rachel’s Fur“. Nach dem textinternen Sprachwechsel werden die Übersetzbarkeit dieses Romans, sowie die Selbstübersetzung „Aunt Rachel’s Fur“ analysiert.Raymond Federman, who survived the Shoah, created a genuinely bilingual literary œuvre in English and French. The literature survey provides an overview of research on literary multilingualism and the critical discourse on Raymond Federman. The chapter ‘Definitions’ starts with bilingualism – the basis of bilingual writing. Emotionality is presented in view of its links to language and poetic competence. Language loyalty and attitude also involve emotions. Identity is relevant regarding the relationship with language as an expression of personal identity and a possible bilingual/bicultural identity.
Language choice and code switching are the central notions of this dissertation. Self-translation – common among bilingual writers – can also mean that an author translates his “self“ from his first language and his source culture into his second language and the new culture.
The chapter ‘Reflections on Methodology’ deals with interdisciplinary questions, the orientation(s) of linguistics and the tensions between (auto)biography and literature.
After an overview of Federman’s biography and the development of his oeuvre and a digression into Samuel Beckett‘s bilingual writing, the analysis concentrates on intertextual bilingualism: the development of language choice and codeswitching in Federman‘s literary career.
The comparison of Federman and Beckett reveals differences and similarities and leads to a “model“ for language choice and code switching.
Then the bilingual novel La Fourrure de ma Tante Rachel and its self-translation Aunt Rachel’s Fur are examined. After analysing the intratextual codeswitching, the translatability of this novel, the genesis of Aunt Rachel’s Fur as well as the relationship between the ”twin texts“ are explored
Una voce dentro una voce, dentro un ripostiglio: Raymond Federman autotraduttore
No full textInternational audienceMy paper analyzes the role of self-translation in the works of bilingual writer Raymond Federman (1928-2009). Born in France and immigrated to the United States in 1947, Federman wrote novels, short-stories, poetry and criticism in English and French, translating himself into both languages. In an essay titled “A Voice Within a Voice: Federman Translating/ Translating Federman” (1993), Federman spoke of his inner tension towards self-translation as a creative necessity, despite what he dubbed as the “horror of self-translation”. In his view, self-translation is to be thought of as “complementary” to (and not “substitutive” of) the source text. My paper will focus on his The Voice in the Closet / La Voix dans le [cabinet de] débarras (1979/2008), a work which is emblematic of Federman’s bilingualism. Presented as a «bilingual novel», the book offers an English and a French version of the same text, both versions written by Federman. It is a highly peculiar, unconventional text, where the author translates a traumatic episode of his childhood during World War II into a bilingual, unpunctuated stream of words. The dialogue between the two languages of this text will be analyzed in order to assess whether their proximity may clarify or articulate some of the semantic and syntactic ambiguities of an utterly hermetic text, and what spaces of interference and creativity are left in the process of self-translation
"Le tentazioni di Babele. Multilinguismo e testimonianza a partire da Chut di Federman"
No full textL’articolo prende avvio dal riconsiderare il Mito di Babele e le sue interpretazioni (Zumthor, Derrida, Steiner, tra gli altri), specie al riguardo della ricezione ebraica (Di Cesare), per affrontare il rapporto tra lingua madre e multilinguismo, a partire dal memoir metanarrativo Chut: Histoire d’une enfance dell’autore franco-americano Raymond Federman. Si sottolinea, attraverso una riflessione sulla condanna ma anche sulla risorsa del multilinguismo, il legame tra esperienza della lingua ed esperienza del male, presentata in Federman come snodo per una particolare letteratura testimoniale della Shoah. Nel contesto di un approccio postmonolingue (Yildiz) – che permette di rivedere anche il rapporto tra la traduzione e la sua ‘lingua pura’ (nel Benjamin commentato da Berman) – si analizza l’infanzia linguisticamente diasporica raccontata nel romanzo di Federman – e con essa la stessa condizione dell’essere scrittore ebreo – tracciando affinità con altre due opere fondamentali della diaspora letteraria ebraica multilingue del Novecento: Die gerettete Zunge di Elias Canetti e Call it sleep di Henry Roth.The article starts from reconsidering the Myth of Babel and its interpretations (Zumthor, Derrida, Steiner, among others), especially with regard to the Jewish reception (Di Cesare), to address the rela-tionship between mother tongue and mul-tilingualism, referring to the metafictional memoir Chut: Histoire d’une enfance by the French American author Raymond Federman. Through a reflection on the condemnation but also on the resource of multilingualism, the link between the ex-perience of language and the experience of evil is emphasized, presented in Federman as a junction for proposing a peculiar te-stimonial literature of the Shoah. In the context of a postmonolingual approach (Yildiz), which also allows to review the relationship between translation and its ‘pure language’ (in Benjamin commented by Berman), the article analyzes the lingui-stically diasporic childhood narrated in Federman’s novel – and with it the same condition of being a Jewish writer – fin-ding affinities with other two important works of the twentieth-century multilin-gual Jewish literary diaspora: Canetti’s Die gerettete Zunge and Henry Roth’s Call it Sleep
Le Tentazioni di Babele: Multilinguismo e testimonianza a partire da Chut di Federman
No full textThe article starts from reconsidering the Myth of Babel and its interpretations (Zumthor, Derrida, Steiner, among others), especially with regard to the Jewish reception (Di Cesare), to address the relationship between mother tongue and multilingualism, referring to the metafictional memoir Chut: Histoire d’une enfance by the French American author Raymond Federman. Through a reflection on the condemnation but also on the resource of multilingualism, the link between the experience of language and the experience of evil is emphasized, presented in Federman as a junction for proposing a peculiar testimonial literature of the Shoah. In the context of a postmonolingual approach (Yildiz), which also allows to review the relationship between translation and its ‘pure language’ (in Benjamin commented by Berman), the article analyzes the linguistically diasporic childhood narrated in Federman’s novel – and with it the same condition of being a Jewish writer – finding affinities with other two important works of the twentieth-century multilingual Jewish literary diaspora: Canetti’s Die gerettete Zunge and Henry Roth’s Call it Sleep.L’articolo prende avvio dal riconsiderare il Mito di Babele e le sue interpretazioni (Zumthor, Derrida, Steiner, tra gli altri), specie al riguardo della ricezione ebraica (Di Cesare), per affrontare il rapporto tra lingua madre e multilinguismo, a partire dal memoir metanarrativo Chut: Histoire d’une enfance dell’autore franco-americano Raymond Federman. Si sottolinea, attraverso una riflessione sulla condanna ma anche sulla risorsa del multilinguismo, il legame tra esperienza della lingua ed esperienza del male, presentata in Federman come snodo per una particolare letteratura testimoniale della Shoah. Nel contesto di un approccio postmonolingue (Yildiz) – che permette di rivedere anche il rapporto tra la traduzione e la sua ‘lingua pura’ (nel Benjamin commentato da Berman) – si analizza l’infanzia linguisticamente diasporica raccontata nel romanzo di Federman – e con essa la stessa condizione dell’essere scrittore ebreo – tracciando affinità con altre due opere fondamentali della diaspora letteraria ebraica multilingue del Novecento: Die gerettete Zunge di Elias Canetti e Call it sleep di Henry Roth
Critical and prose works of Raymond Federman Критическое и прозовое опус Раймонда Федермана : doctoral dissertation докторская диссертация
No full textЛично погођен Холокаустом и свиме што он представља, Рејмонд Федерман ступа на
послератну књижевну сцену са идејама које су рефлектовале стварност тадашњице. Хаос,
одсуство сваког реда и очекивања, арбитрарност, апсурд и у свему томе изгубљено Сопство
постају главна обележја његове критике и прозе. Непрестано преиспитујући све око себе,
Федерман ствара сопствену верзију постмодерне прозе коју он назива надфикција и коју
декларише као једини могући модус постојања фикције. Циљ ове дисертације је да представи
Федерманов целокупни критички и прозни опус и преиспита однос Федермановог критичког и
прозног стваралаштва и у којој мери је он успео да примени сопствену критику на своја прозна
дела.
Први део дисертације се бави постављањем историјско-друштвених оквира времена у ком
је Федерман стасавао као личност и млади писац и на који начин је то све утицало на формирање
његовог приступа књижевности и као критичара и као писца. Следећи део је усмерен на пружање
теоријских дефиниција Федерманове критике и појмова „надфикција”, „критипроза”,
„плагијаигра” и „смехожевност” као основних за разумевање његове критичког приступа
књижевном стваралаштву. Федерман својом критиком поставља темеље за измењен приступ
књижевном стваралаштву, у коме он види читаоца не као реципијента наметнутог значења, већ
као продужетак аутора приликом формирања прозног дела. Наредно поглавље описује
Федерманов однос према стваралаштву Самјуела Бекета због утицаја који је Бекетов опус имао
на Федерманово виђење књижевности, и као критичара и као писца. Наредни део рада представља
анализу свих његових романа, почевши од четири најбитнија и најпознатија. Сви романи ће бити
анализирани у кључу Федерманове надфикције и аутор ће настојати да покаже на који начин је
Федерман успео да стопи своју оригиналну критику и јединствено прозно стваралаштво у једно,
стављајући их у нераскидиву везу. У раду ће се показати начин на који је његова критика
сазревала у корак са његовим прозним стваралаштвом, као и који је био развојни пут те критике
на примеру његових романа од првог, најексперименталнијег романа, до последњег, најсведенијег
и скоро аутобиографског. Узевши у обзир врло сложену климу у којој је Федерман стварао своја
критичка и прозна дела, било је неопходно приступити анализи његовог опуса
трансдисциплинарно, укрштањем његове критичке теорије са тадашњим књижевним,
културолошким и филозофским стремљењима. Коначно, последње поглавље представља
заокруживање овог истраживања са сумарним прегледом Федерманове критике, прозе и односа
између та два опуса.
Секундарни циљ рада је да представи и приближи врло богат и разнолик критички и
прозни опус Рејмонда Федермана академској и широј јавности и да ће пружити чврсту основу и
пробудити интересовање за даља истраживања дела и улоге Рејмонда Федермана, чије
стваралаштво је, а посебно критика, релевантно и данас као што је било у време стварања.Critical and Prose Works of Raymond Federman
ABSTRACT
Personally affected by the Holocaust and all it represents, Raymond Federman emerges onto the
post-war literary scene with ideas reflecting the reality of the time. Chaos, the absence of any order and
expectations, arbitrariness, the absurd, and the loss of Self in all of this become the main features of his
criticism and prose. Continuously re-examining everything around him, Federman creates his own
version of postmodern prose, which he calls "surfiction," declaring it as the only possible mode of the
existence of fiction. The aim of this dissertation is to present Federman's complete critical and prose
oeuvre and to examine the relationship between Federman's critical and prose creation and the extent to
which he managed to apply his own critique to his prose works.
The first part of the dissertation deals with establishing the sociohistorical framework of the time
in which Federman matured as a person and a young writer, and how all of this influenced the formation
of his approach to literature as both a critic and a writer. The subsequent part is focused on providing
theoretical definitions of Federman's criticism and concepts such as “surfiction”, “critifiction”,
“plaYgiarism”, and “laughterature” as fundamental for understanding his critical approach to literary
creation. Through his criticism, Federman lays the groundwork for an altered approach to literary
creation, in which he sees the reader not as a recipient of imposed meaning but as an extension of the
author in shaping the prose work. The following chapter describes Federman's relationship with the
works of Samuel Beckett due to the influence Beckett's oeuvre had on Federman's view of literature,
both as a critic and as a writer.
The next part of the thesis presents an analysis of all of his novels, starting with the four most
important and well-known ones. All novels will be analyzed through the lens of Federman's surfiction,
and the author will strive to demonstrate how Federman managed to merge his original critique and
unique prose creation into one, placing them in an inseparable relationship. The work will show how his
criticism matured alongside his prose, and also describe the developmental path of that criticism through
his novels from the first, most experimental novel to the last, most refined and almost autobiographical
one. Considering the very complex climate in which Federman created his critical and prose works, it
was necessary to approach the analysis of his oeuvre transdisciplinarily, by intersecting his critical theory
with the literary, cultural, and philosophical aspirations of the time. Finally, the last chapter concludes
this research with a summary overview of Federman's criticism, prose, and the relationship between these
two oeuvres.
The secondary goal of the work is to present and bring closer the very rich and diverse critical
and prose oeuvre of Raymond Federman to both the academic and wider public, providing a solid
foundation and arousing interest for further exploration of Federman's works and importance, since his
creation, especially his criticism, remains as relevant today as it was in his time
Tracing star formation from disk surfaces to outflows and jets
No full textThesis (Ph. D.)--University of Rochester. Department of Physics and Astronomy, 2025.
"Vital co-author contributions were from: Dan M. Watson (MAPPINGS shock modeling and grids), Alice C. Quillen (dynamical and [O I] models in NGC 2071 IR), Nicole Karnath (developing the combined HST and SOFIA study), Neal J. Evans II (investigating the CO molecular model), Edward Chambers (reducing [O I] spectra), and Samuel Federman (assisting spectral line measurements along the jet of HOPS 370)"--Page xxx.Star formation feedback is mapped around the local environments of protostars and from multiple chemical tracers (ices, gas-phase molecules, and ionized species). Using near- to mid-infrared integral field unit (IFU) observations, the James Webb Space Telescope (JWST) traces the masses and temperatures of gaseous CO and H2 on Solar System scales (<1000 au) from five protostars at their inception. The same JWST data also reveal the first evidence of momentum-driving wide-angle winds emanating from shocks that produce [Fe II] and other ionic emission lines at 1000 to 2500 au in the outflow cavity of an intermediate-mass protostar. Combining near-infrared imaging of [Fe II] and H I from the Hubble Space Telescope (HST) with far-infrared [O I] spectra from the Stratospheric Observatory for Infrared Astronomy (SOFIA), a more mature protostar’s outflowing gas opens a cavity in its immediate surrounding, and the protostellar winds lose energy on 10000 au scales. Finally, using the same HST+SOFIA dataset, the remnants of a protostellar jet precesses through a cloud on parsec-scales and locally quenches star formation
The uses of madness in nineteenth- and twentieth-century fiction : the relation between narrative strategy and disturbed states of consciousness
No full textThe thesis operates upon the premise that there has been, in the
course of the last two centuries, a radical transformation in narrative
presentations of exceptional states of consciousness. It sets out to
identify the main characteristics of the fictional transformation, and to
situate them in the context of wider cultural shifts. I decided to rest
my approach upon the relatively conservative sense that, roughly speaking,
the structural and linguistic analysis of a narrative topos - that is to
say the protagonist's madness - can elicit a clearer understanding of the
changing, underlying dynamics and thematics of fictional works as they
emerge over a given historical period.
The thesis is set out in two parts; Part I explores nineteenth
century uses of madness, and Part II compares and contrasts more recent
treatments. The study of the different presentations of madness in
fiction is organized diachronically for heuristic purposes, although the
typological emphasis of the thesis must eventually take precedence over
the imposition of a rigid historical framework.
In the nineteenth century it is predominantly an intellectually
marginalized kind of fiction (often termed 'gothic') which deals with
exceptional psychic experience. It does so in a way which engages with
the treacherous 'otherness' of mad experience, which is often aligned with
the supernatural. In these texts the position of the narrator in relation
to such phenomenon is of paramount importance. More recent treatments of
'madness' display a tendency to undermine its 'otherness' and to move
towards narrative identification with such states.
The method of investigation functions upon several levels. In order
to provide a constructive counter-perspective upon fictional treatments of
madness and to forge the link with contemporary methodologies, the study
commences with the narratological analysis of a work written by a
(clinically diagnosed) psychotic author which has achieved the status of a
classic within psychiatric, psychoanalytical and even recent cultural
theory. The narrative structure of D. P. Schreber's Memoirs finds its
equivalent in a kind of fiction identified in this thesis as 'paranoid'.
Twentieth century clinical discourse increasingly has recourse to the
very broad term 'schizophrenia' as a synonym for the outmoded term
'madness'. The current emphasis upon linguistic concerns in the definition
and location of psychosis allows the critical grouping of certain kinds of
texts under the heading of 'schizoid', due to the discovery of analogous
characteristics at work within their (anti)narrative strategy. Again, these
terms are heuristically intended and cannot be scientifically precise. The
thesis concludes with a discussion of the current centrality of a
terminology of psychopathology to the ways in which fictionists, critics
and theorists describe, prescribe and understand the 'postmodern' self and
world.
This project offers an overview of attitudes to madness as they are
transformed in fiction in the course of a historical period. The way in
which madness functions in these texts is, first of all, not only as the
instrument of literary exploration but also as a means of transgressing
boundaries between sanity and insanity. The period is crucial, further, in
its radical transitional nature with regard to concepts of fundamental
import for the novel form: most particularly, ideas of the 'self' and ideas
of 'reality', as objectively stable or as sub. iective and illusory. For the
fictional articulation of these, the topos of 'madness' serves as the
ultimate measure
Mourning, “Suspecting”, Repairing. Parentage Story by Vera Feyder
No full textThe work of Vera Feyder, a Wallo‐Serbo‐Polish‐Jewish author as she considers herself, has been developing, since its beginnings in 1961, in the feeling of abandonment. The poor childhood of the author, due to the absence of the father, the poet Maurice Federman who disappeared in the concentration camps, and the mother, Elise who due to lack of re‐ sources, had to place her daughter in the sanatoriums or homes for disadvantaged children, exerts a certain influence on the author who during all her lifetime couldn’t recover from this lack, important for her and for her work. The Feyder’s récit de filiation appears at first as a barely disguised autobiography; it is then a projection of nostalgia and rancor, even of hate which is the part of the identity of the author; it is finally getting even with the past, including the historical past
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