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"Proportion Fiction."
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Beanstalk : the measure of a giant : a math adventure
Jack climbs an enormous beanstalk and encounters a very lonely boy giant, and by using ratios and proportion he makes toys that are the right size for each of them.
Book
The novel and the new ethics
For a generation of contemporary Anglo-American novelists, the question \"Why write?\" has been answered with a renewed will to believe in the ethical value of literature. Dissatisfied with postmodernist parody and pastiche, a broad array of novelist-critics—including J.M. Coetzee, Toni Morrison, Zadie Smith, Gish Jen, Ian McEwan, and Jonathan Franzen—champion the novel as the literary genre most qualified to illuminate individual ethical action and decision-making within complex and diverse social worlds. Key to this contemporary vision of the novel's ethical power is the task of knowing and being responsible to people different from oneself, and so thoroughly have contemporary novelists devoted themselves to the ethics of otherness, that this ethics frequently sets the terms for plot, characterization, and theme. In The Novel and the New Ethics, literary critic Dorothy J. Hale investigates how the contemporary emphasis on literature's social relevance sparks a new ethical description of the novel's social value that is in fact rooted in the modernist notion of narrative form. This \"new\" ethics of the contemporary moment has its origin in the \"new\" idea of novelistic form that Henry James inaugurated and which was consolidated through the modernist narrative experiments and was developed over the course of the twentieth century. In Hale's reading, the art of the novel becomes defined with increasing explicitness as an aesthetics of alterity made visible as a formalist ethics. In fact, it is this commitment to otherness as a narrative act which has conferred on the genre an artistic intensity and richness that extends to the novel's every word.
eBook
Virginia Woolf, Jean Rhys and the aesthetics of trauma
This is a study of modernism, sexuality, and subjectivity in the work of two leading women modernists. Each confronted the aspects of her culture and personal history that resulted in a degraded sense of female sexuality and explored how traumatic childhood sexual experiences informed their relationship to female corporeality and fiction-writing.
eBook
The Naked Communist
The Naked Communist argues that the political ideologies of modernity were fundamentally determined by four basic figures: the world, the enemy, the secret, and the catastrophe. While the \"world\" names the totality that functioned as the ultimate horizon of modern political imagination, the three other figures define the necessary limits of this totality by reflecting on the limits of representation. The book highlights the enduring presence of these figures in the modern imagination through detailed analysis of a concrete historical example: American anti-Communist politics of the 1950s. Its primary objective is to describe the internal mechanisms of what we could call an anti-Communist \"aesthetic ideology.\" The book thus traces the way anti-Communist popular culture emerged in the discourse of Cold War liberalism as a political symptom of modernism. Based on a discursive analysis of American anti-Communist politics, the book presents parallel readings of modernism and popular fiction from the 1950s (nuclear holocaust novels, spy novels, and popular political novels) in order to show that, despite the radical separation of the two cultural fields, they both participated in a common ideological program.
eBook
Arthur Conan Doyle's Lens
The author argues that relations of scale are central to the late- nineteenth- century detective fiction of Arthur Conan Doyle, in which the movement between large and small, far and near, and the distant and the intimate is condensed by making Sherlock Holmes's own vision the locus of that movement.
Journal Article
Romanticism, Aesthetics, and Nationalism
This ambitious study, first published in 1999, argues that our conception of the aesthetic sphere emerged during the era of British and German Romanticism from conflicts between competing models of the liberal state and the cultural nation. The aesthetic sphere is thus centrally connected to 'aesthetic statism', which is the theoretical project of reconciling conflicts in the political sphere by appealing to the unity of the symbol. David Kaiser traces the trajectory of aesthetic statism from Schiller and Coleridge, through Arnold, Mill and Ruskin, to Adorno and Habermas. He analyses how the concept of aesthetic autonomy shifts from being a supplement to the political sphere to an end in itself; this shift lies behind the problems that contemporary literary theory has faced in its attempts to connect the aesthetic and political spheres. Finally, he suggests that we rethink the aesthetic sphere in order to regain that connection.
eBook
Finances, figures and fiction
Whether out of an understandable reluctance to neglect any of the scarce available sources or simply for want of more trustworthy evidence, classical scholars nolentes volentes tend to rely to a large extent on references to amounts of money in the ancient literary sources whenever they aim at quantifying, however roughly and shielded by appropriate disclaimers, some fundamental features of Roman economy and society. In view of this, the almost complete lack of systematic enquiries into the very nature of these particular data is almost as inexplicable as it seems inexcusable. While several studies have been devoted to the use of rounded numbers in Greek and Roman literature in general, none of these has specifically addressed the stylization of monetary valuations. The only notable exception is provided by the work of Richard Duncan-Jones who in a pioneering survey of prices in the Latin novel above all showed beyond reasonable doubt that in this genre, prices expressed in multiples of thirty (up to thirty million) should best be understood as purely conventional valuations. In his latest book, he has subjected the ancient numerical evidence for two areas of major concern—the public treasury and state expenditure during the Principate—to an analogous examination that has highlighted the stylized character of many relevant references and has thus largely confirmed his previous findings. Even so, owing to the limitation of these studies to a small number of authors and subject matters, a vast pool of similar data from ancient literature has hitherto been left virtually untapped. What is more, Duncan-Jones did not attempt to complement his re-evaluation of multiples of thirty with a systematic exposition of complementary patterns of stylization. In this paper, I hope to demonstrate the need for a more extensive and much more radical reassessment of much of the available evidence.
Journal Article
Continuity or Change in the Court of Chancery in the Seventeenth and Eighteenth Centuries?
No reader of Bleak House is likely to forget its scathing portrayal of the excesses of the unreformed Court of Chancery in the handling of Jarndyce v. Jarndyce. From its publication in 1852–53, it has created an indelible image of the Court, so powerfully influencing historians as well as laymen that it is sometimes hard to remember that it is fiction, and polemical fiction at that. The fiction, however, is built on a secure bedrock of fact; the voluminous testimony and submissions made by Dickens's contemporaries to a series of parliamentary inquiries on the legal system furnish ample backing for much of his “bill of complaint” on such scores as delay and expense, procedural technicality, and inconclusiveness of outcome. Thus, John Forster, a partner in one of the biggest firms in Lincoln's Inn, called the Court's delays “heart-sickening” and characterized its “modes of proceedings … as little adapted to the ordinary duration of human life as they are calculated for the determination of differences and the quiet of possessions”; in the same vein, a future master of the rolls averred that “cases have occurred, within my knowledge, in which the whole property to be administered in Chancery, has proved insufficient to pay the costs of the suit.” As with the early nineteenth-century attacks on the unreformed House of Commons and the traditional electoral system, denunciations of the Court of Chancery's failings have a long history and, often, a repetitive quality.
Journal Article
Seeing through Words in Theories of Poetry: Sidney, Puttenham, Lodge
This chapter contains sections titled:
Speaking Pictures and the Eyes of the Mind
Problems with Representation
Good Imaginations
References
Further Reading
Book Chapter