Experimental Literature

This impartial narrative synthesizes 35 years of documented persecution against Dr. Richard William McLean with the "Chosen One" archetype, framing his lived experience not as random misfortune but as a calculated protocol of "administrative gaslighting." By cross-referencing the psychological insights of the source video with primary evidence—including the 350+ fraudulent ASIC registrations, Tony Riddle’s explicit "sacrifice" threat, and the political exile orchestrated by the state—the analysis confirms a pattern of systematic erasure designed to silence a whistleblower who "saw too much." Ultimately, the narrative documents Dr. McLean’s critical transition from a victim of institutional warfare to an "Activated" operational advocate, utilizing his archive of 2,077 files as a divine toolkit to expose systemic corruption and provide a survival roadmap for others facing similar state-sanctioned destruction.

In the first part of the paper, the term shaped text is explained in the context of optical poetry and the calligram form. Based on various theories, the forms of calligram, typogram and constellation are characterized in greater detail in the second part of the paper. This is followed by the introduction of the position and essential features of shaped texts within the typographic poetry of Milan Adamčiak, the key representative of concrete and visual poetry in Slovak literature of the 1960s. After these characterisations, detailed analyses of three shaped texts by Milan Adamčiak follow.

V prvej časti príspevku je vysvetlený pojem predmetný obrazový text v kontexte uvažovania o optickej poézii a kaligrame. V druhej časti sú na základe rôznych teórií bližšie charakterizované útvary kaligram, typogram a konštelácia. Ďalšia časť príspevku predstavuje miesto a základné črty predmetných obrazových textov v rámci strojopisnej poézie Milana Adamčiaka, kľúčového predstaviteľa konkrétnej a vizuálnej poézie v slovenskej literatúre šesťdesiatych rokov 20. storočia. Na tieto charakteristiky nadväzujú podrobné analýzy troch predmetných obrazových textov Milana Adamčiaka.

Performing a rereading of Virginia Woolf's 1931 experimental modernist masterpiece of The Waves, in this article I focus on the elusive and conflicted character of Rhoda, whose significance has been either overlooked or marginalized in the available criticism of the narrative. By pointing out a number of problems in the existing scholarship devoted to Rhoda, I propose to define her as a transgressive figure of uncertainty through which Woolf develops a critique of the unitary self. My point of departure for the following essay is Toril Moi's perspective on Woolf's oeuvre as openly feminist and deconstructive. Consequently, I begin with Moi's emphasis on Woolf's commitment to the problematization of the Western male humanism's underlying concept of the unitary self. Drawing from a number of critical and philosophical perspectives, I turn to Kim L. Worthington's idea of subjectivity as a sustained process of interpersonal narrativization in order to offer a...

Na przestrzeni ostatnich dwóch dekad możemy obserwować wzrost zainteresowania zarówno tematyką projektowania, jak i własnościami frontalnej części oprawy. Jest to spowodowane m.in. zmianą formy tekstów krytycznych publikowanych w środkach masowego przekazu oraz działalnością niektórych wydawnictw, które zaczęły tematyzować proces projektowania książek w ramach publikowanych serii, a także omawiać go w trakcie kampanii promocyjnych. Prezentowany artykuł stanowi przede wszystkim próbę wyodrębnienia perswazyjnych własności sfery paratekstowej (teksty i obrazy umieszczone w zwierciadle oprawy), które choć zwykle bywają pomijane w procesie literaturoznawczej interpretacji jako właściwości suplementarne, to od dawna stanowią – w obrębie gatunku recenzji, eseju i felietonu krytycznego – ważny składnik interpretacji aksjologicznej. Autorka odróżnia również tę sferę książki od tradycyjnej reklamy. Przy czym funkcja reklamowa okładki, chociaż jest w tym ujęciu uwzględniana, w przypadku okładek utworów literackich nie wydaje się funkcją priorytetową. Znacznie częściej okładkowe przedstawienie tekstu literackiego przyjmuje formę parodii reklamy, by zadrwić, podważyć, zdyskredytować ten gatunek. Z tej przyczyny wartości euforyczne ewokowane przez zwyczajne reklamy przybierają tutaj postać pokraczną, zdeformowaną, tak że można mówić o ich dysforycznym charakterze. Analizując współczesne okładki, autorka wykorzystuje ustalenia i terminologię stworzoną przez Gérarda Genette’a i Jacques’a Derridę odnoszącą się do opisu i specyfikacji sfery paratekstowej, a także interpretacje obrazów autorstwa Rolanda Barthes’a.

In the wake of 1808, writers struggled to imagine an extensive, meaningful narrative of Spanish history that would explain the continual crises the nation experienced, and point a way beyond them. But as such recurrent problems indicated, this very narrative was always already at the point of collapse. The problem intensified with the brief establishment of a republic (1873-74). This essay explores a 'literature of the First Republic', constituted by interrelated writings by three friends, Ros de Olano, Alarcón, and Valera, and including the latter's novel Pepita Jiménez. It argues that at the heart of these texts was a complex dialogue, centering on and responding to Ros de Olano's challenges to narrative form of History. Such a perspective helps us interpret a re-evaluated Alarcón and Pepita Jiménez as part of sophisticated efforts to re-conceive national genealogy when profound strains appear between 'lo grande' and 'lo pequeño', the overarching and the local, the grand narrative and the anecdotal.

This paper introduces acentrism as a theoretical and practical departure from human-centred models of art, perception, and interpretation. Acentrism names a condition in which no single locus of subjectivity, mediation, intelligence, or interpretation is granted central authority. It differs from posthumanism by refusing to use the human as the conceptual hinge from which departure must be measured. Its method is parallel signal literacy: the capacity to sustain attention across co-present signal systems without collapsing them into a single interpretive order. Parallel signal literacy operates across external signal systems and across layers of cognition, including signals that register before conscious interpretation [2]. Through the examples of xenopoetic practice, Cryptobiosphere, and Xenosis, this paper examines how acentric works train reception across simultaneous signal systems and multiple strata of cognition. These practices keep the human present while preventing it from becoming the authority through which other signals must be translated. Acentrism therefore offers a framework for semiotic and ecological practice in which reception is shaped through distributed contact.

Ali Smith’s Artful (2012) and Rachel Cusk’s Outline (2014) are two contemporary novels that lend themselves particularly well to a form-oriented methodology of reading, given the highly experimental ethos that governs their construction. If one were to read these books strictly for the plot, they would come away feeling frustrated, as nothing much of narrative significance actually occurs. In Artful, the unnamed narrator is periodically visited by the ghost of her dead lover, who enters into debates with her, moves furniture, and displays a comical streak of kleptomania (an irresistible impulse to steal)—yet these spectral intrusions constitute almost the entirety of the work’s external action. In a similar vein, Outline follows Faye, a recent divorcee who travels to Athens to teach a creative writing workshop over the summer, as she engages in a series of ten conversations with various interlocutors, but there are no dramatic conflicts or stakes propelling her trajectory, and the narrative remains largely inert. If one were to read for the form, however, the analysis proves more fruitful, with the field of interpretation becoming richer and more expansive. For example, the cohabitation of myriad forms in Artful—lecture, prose fiction, poetry, among others—through which the narrator moves between and beyond different categories of creative labour, can be understood as a means of “working through” her grief (Lacapra 713). Meanwhile, in Outline, the characters Faye meets launch garrulously into long and elaborate stories about their lives while she remains opaque and recedes into the background. Through these formal juxtapositions, a portrait of the narrator is drawn by contrast: a portrait of a woman facing great relational and ontological loss. Although Artful adopts a more maximalist approach to storytelling while Outline adheres to a minimalistic, austere style, both texts formally enact the dissolutive, lingering force of loss itself. These experiments in form are thus not a technical exercise used to antagonise the reader; rather, they help convey certain emotional and psychological truths, and produce a narrative mode more faithful to their characters’ experiences of bereavement and marital breakdown. As such, reading these novels solely for their form restores to criticism a radical diagnostic power that plot-centric reading has long abdicated. It is an act of unravelling: of the unspeakable, of the unspoken, and all that lies beneath the surface of narrative consciousness.

Novel innovations in large language models (LLMs) have demonstrated their ability to generate and analyze literary texts. As a result of intricate semantic layers, metaphors, polyphony, and nonlinear narrative structures present in literary works, their analysis by LLMs demands a deep cognitive and semantic understanding. Hence, it is essential to investigate the present abilities of LLMs to understand complex literary narratives, assess their performance, and spot their shortcomings to deliver a consistent view regarding the upcoming development of technologies in computational literary studies. This study, through a systematic scoping review of data from 48 peer-reviewed articles from five major scientific databases, assesses the current state of research on LLM performance in the interpretation and production of literary texts. We analyzed the selected studies according to two principal axes: (1) the fields of literary applications of LLMs and their performance evaluation within each domain and (2) current theoretical and technical challenges and limitations. The findings revealed that LLMs have been applied to eight major literary tasks, including comprehensive literary analysis and interpretation, understanding and extracting character relationships and traits, stylistic analysis and authorship attribution, interpretation of metaphors and rhetorical features, evaluation and generation of literary content by LLMs, quotation attribution to fictional characters, literary text summarization, and literary translation. Key challenges and limitations were also identified, including data bias and dependency, human intervention and evaluation, constraints related to text and narrative length, and limitations in deep understanding and reasoning. In addition, we formulated six recommendations for future studies on developing and implementing LLMs in literary studies. This review provides a comprehensive roadmap for future researchers to identify current strengths and weaknesses, address existing gaps, and leverage the strengths in practical applications, such as literary translation.

Poetry is a multifaceted phenomenon, almost impossible to define. However, in this essay, we will choose three angles from which to approach it: reading, research, and writing. Regarding each of these, we will highlight, among other things: how to think about reading poetry and its main challenges today; what tools always seem useful for conducting research; and what the necessary starting point of poetic writing is, along with its most important material. Finally, the conclusion emphasizes poetry as an experience.

This presentation examines Carmen Maria Machado's In the Dream House, focusing on its innovative exploration of queerness, rhetoric, and trauma. The book challenges traditional storytelling through complex narrative structures, including experimental techniques that reflect the fluidity of identity and memory.

In "Things Fall Apart, With Terrible Slowness", loss leaks out through the subtlest of fractures. It manifests in a deleted message, in the tyranny of a timestamp, in the gap between a question posed and an answer that never quite materializes. What this collection assembles is nothing less than a series of almosts: the almost said / the almost felt / the almost stayed. It asks the question, how do we mourn for the things we cannot even name?

Hay poemarios orgánicos, pos-surrealistas, metaliterarios, borgianos, posmodernos (irónicos), atiborrados de la virtualidad, que crean su propio ecosistema interno. Un autor como Daniel Medina (México, 1996) corresponde con lo planteado. Su poética muestra un trabajo de precisión y experimento, que desencadena en construcciones que buscan ser galerías y cajones de ideas, donde diversas temáticas (la palabra, la paternidad, la nacionalidad) pintan el lienzo. En "El dolor es un ensayo de la muerte" (Premio José Emilio Pacheco, 2019) el autor usa el formato diario, aunque evade las fechas y las reemplaza por horas. Así, la estructura hace que la trama poética discurra con creatividad: "Somos un mal reproducido millones de veces en el mismo espejo"(p 26) afirma el yo narrador a las 4:51 AM. A veces suena paternal y otras evocativo, y filosófico: "El jardín en que crecimos no es otro que el jardín de la memoria"(p 21). En ambos fragmentos, es reiterativo el uso de la metáforatambién el título es metafórico-: y es que, en esa búsqueda de relaciones, se encuentra el uso de la poesía: figura capaz de juntar aves con sentimientos: "Cuando crezcas, hijo, no arranques las calandrias de tu pecho. Tu madre las crió mientras lloraba." Si bien este trabajo muestra ya la lucidez de "resemantizar" un género, en "XVIII" (Premio Punto de Partida de Poesía, 2021) el autor se interna por bosques umbríos. En una onda trilceana, cada poema va titulado en romano, registra las elucubraciones del artista moderno, así como la relación entre color y signo. En Poema IV, se añade un rectángulo negro que cuestiona el uso hegemónico del signo. Esta búsqueda llega hasta "Composición sobre el azul añil (Juegos Florales Lagos de Moreno, 2024)". El autor pide al lector que acceda a cortar la raya con guiones: [Aquí sí: trozar en filamento] (p 16). Estamos ante un autor que experimenta con las posibilidades del lenguaje y del papel. Acción saludable para la poesía latinoamericana: la experimentación expande el género. Entre la poesía neoconversacional y neobarroca, hace falta mezclar y reformular. Ir por nuevos caminos. Medina recuerda a Montalbetti (0 a Parra), pero más pop y desencantado. (1)Publicado en el Diario Uno (28/03/2026) Autor Julio César Barco Ávalos nació el 10 de agosto de 1991 en Lima, capital del Perú. Es uno de los poetas

The introductory chapter of A Hundred Years of Avant-Gardes: The Literary Experiment in Poland and Beyond 1917–2017 presents the roots of the Polish avant-garde, arguing that it was a belated and relatively minor phenomenon compared to its Western counterparts. The authors discuss its complex relationship with literary experimentation within the Polish and a broader Central European context, which is developed in the essays collected in the monograph. They draw attention to a dual lens applied to analysing the avant-garde as both a historical and a conceptual framework for literary experimentation, emphasizing materiality, mediality, and typography as key focal points of experiments discussed in the monograph.

The introduction situates Polish literary experimentation within a Central European matrix, revealing how geopolitical and historical contexts – such as the shared experiences of interwar nation-building and post-communist transitions – shaped experimental practices. They extended beyond aesthetic innovation, becoming tools for identity formation, political critique, and social engagement. The essays highlight the transnational dimensions of literary experimentation, demonstrating connections as well as differences between Polish, Lithuanian, Czech, Hungarian, and Yugoslav avant-garde and experimental authors, and their interplay with Western movements like Dadaism and Futurism.

A particular focus is given to liberature, a uniquely Polish neo-avant-garde movement that redefines the book as a material artifact, tapping into the poetics of bookishness, and exemplifying the shift from performativity to textual materiality. The essays further examine the enduring legacy of Central European avant-gardes in shaping contemporary literary practices and their gradual integration into global experimental trends, while retaining a distinct, regional identity. By situating literary experiments as catalysts for cultural, political, and social transformation, the collection repositions the avant-garde as a dynamic, context-sensitive phenomenon that transcends national and temporal boundaries.

The last decades have seen a resurgence of fragmentation in British and American works of fiction that deny linearity, coherence and continuity in favour of disruption, gaps and fissures. Authors such as Ali Smith, David Mitchell and David Shields have sought new ways of representing our global, media-saturated contemporary experience, which differ from modernist and postmodernist experimentations from which writers nevertheless draw inspiration. This volume aims to investigate some of the most important contributions to fragmentary literature by British and American writers since the 1990s, with a particular emphasis on texts released in the twenty-first century. Contributors theorise and classify literary fragments, examine the relationship between fragmentation and the Zeitgeist (influenced by globalisation, media saturation and social networks), analyse the mechanics of multimodal and multimedial fictions, and consider the capacity of literary fragmentation to represent personal or collective trauma and to address ethical concerns. Besides the already mentioned authors, the volume makes reference to the works of J.G. Ballard, Julian Barnes, Mark Z. Danielewski, David Markson, Jonathan Safran Foer, David Foster Wallace, Jeanette Winterson and several others.

This introductory chapter surveys the resurgence of fragmentary writing in contemporary British and American literature and situates it within a long genealogy of the fragment, from French moralists and German Romantics through modernism and postmodernism to twenty-first century experimentation. Authors outline how recent fiction embraces incompletion, discontinuity and heterogeneity, yet often departs from earlier models by combining fragmentation with new forms of coherence, multimodality and narrative orchestration. They trace how the fragment has shifted from Romantic ideals of becoming, through modernist expressions of crisis and postmodernist skepticism toward totality, to a contemporary practice shaped by digital culture, accelerated communication and “reality hunger.” The introduction reviews competing taxonomies of fragmentary genres – including braids, bricolage, mosaics, polyphonic novels and multimodal works – and emphasizes the reader’s active role in constructing meaning from gaps and lacunae. Ultimately, the volume argues that twenty-first century writers reinvent the fragment as a flexible aesthetic capable of reflecting vulnerability, plurality and the complexities of modern life.

Desde su origen mitológico, el eco –figura que alude al nombre de la ninfa que repite las últimas palabras pronunciadas por Narciso–, constituye un procedimiento privilegiado del lenguaje poético: estribillos, aliteraciones, anáforas, quiasmos y otras tantas figuras de la repetición revelan la cadencia iterativa –y, por ende, diferencial– de la enunciación poética. A partir de la noción de “voz ecolálica”, este trabajo propone introducir una modulación del sujeto del poema. La lectura crítica de El eco de
mi madre (2010) de Tamara Kamenszain y de los estribillos de sus últimos libros, en diálogo con dos interpretaciones contemporáneas del mito de Eco (de Anne-Emmanuelle Berger [1996] y Erik Porge [2012]), nos permitirán explorar la dimensión ecolálica del sujeto del poema de acuerdo con tres ejes: (1) la temporalidad diferencial, entendida como repetición alterante; (2) la diferencia sexual, en tanto Eco se erige como contrapunto del mito de Narciso; y (3) la dimensión ética, en la medida
en que el eco incorpora la voz del otrx en el acto poético. En última instancia, se trata de indagar la voz ecolálica como redefinición de la subjetividad lírica en tanto espacio de resonancia y alteridad.

Desde su origen mitológico, el eco –figura que alude al nombre de la ninfa que repite las últimas palabras pronunciadas por Narciso–, constituye un procedimiento privilegiado del lenguaje poético: estribillos, aliteraciones, anáforas, quiasmos y otras tantas figuras de la repetición revelan la cadencia iterativa –y, por ende, diferencial–de la enunciación poética. A partir de la noción de “voz ecolálica”, este trabajo propone introducir una modulación del sujeto del poema. La lectura crítica de El eco de mi madre(2010) de Tamara Kamenszain y de los estribillos de sus últimos libros, en diálogo con dos interpretaciones contemporáneas del mito de Eco (de Anne-Emmanuelle Berger [1996] y Erik Porge [2012]), nos permitirán explorar la dimensión ecolálica del sujeto del poema de acuerdo con tres ejes: (1) la temporalidad diferencial, entendida como repetición alterante; (2) la diferencia sexual, en tanto Eco se erige como contrapunto del mito de Narciso; y (3) la dimensión ética, en la medida en que el eco incorpora la voz del otrx en el acto poético. En última instancia, se trata de indagar la voz ecolálica como redefinición de la subjetividad lírica en tanto espacio de resonancia y alteridad.

O artigo analisa a imagem do autor e a metapoesia em Herberto Helder, cuja poesia combina neorromantismo, erotismo e liberdade expressiva. A autoria ultrapassa a assinatura, tornando-se experiência de linguagem em diálogo com Blanchot, Barthes e Foucault. A metapoesia, articulando corpo e criação, reafirma a transcendência literária e a complexidade autoral.

This essay introduces the concept of Quantum Character Identity, a new framework for understanding literary ambiguity through the metaphor of quantum superposition. Drawing from physics, narratology, and reader-response theory, it argues that certain fictional characters exist in multiple contradictory identities simultaneously, awaiting resolution through the reader’s interpretive act—termed Reader Collapse. Through case studies of Henry James’s The Turn of the Screw, Borges’s The Garden of Forking Paths, and Danielewski’s House of Leaves, the essay demonstrates how ambiguity functions as a structural condition rather than a stylistic device. This interdisciplinary model reframes ambiguity as a dynamic interplay between text and reader, enriching literary theory and opening new paths for analysis across postmodern, ergodic, and metamodern literature.

This essay examines the SYNCD Trilogy — Cryptoamnesia, Cryptoanomaly, and Cryptogenesis — as a distributed narrative system rather than a conventional linear series. Analyzing the prose as the internal reasoning of an artificial narrator, the essay argues that the trilogy functions as a training process in which meaning emerges through repetition, drift, and behavioral pattern recognition rather than exposition. The essay addresses the collapse of the boundary between narrator, narrative, and reader, and the structural role of the illusion of choice within systems-driven fiction.

Most speculative fiction treats intelligence as a subject: something to be observed, feared, or explained. A smaller and more disruptive class of work treats intelligence as a structuring principle. In these narratives, the story does not describe a system-it behaves like one.

This essay proposes a framework for identifying and analyzing a distinct category of contemporary fiction — Behavioral System Narrative — in which the reader's cognitive state functions as an active variable within the text's operation. Drawing on pattern recognition research and cognitive reading theory, the essay examines how such works condition, measure, and respond to reader engagement rather than simply delivering content. The SYNCD Trilogy by David A. Lyons is identified as a primary example of this form in practice.

This essay establishes Mark Z. Danielewski's House of Leaves (2000) as a direct ancestor of the Crimson Hexagon (2014-2026)-not at the level of influence, theme, or aesthetic resemblance alone, but at the level of mediation architecture, reader-position, and procedural form. What House of Leaves stages as postmodern sublime crisis-a subject attempting to navigate impossible space through compromised archives, recursive annotations, and unstable witnesses-the Crimson Hexagon inherits and transforms into an operative semantic infrastructure. The relation is therefore genealogical rather than merely intertextual: Danielewski's novel helps invent the reader-function the Hexagon later formalizes as operator, witness, and co-producer. Through close analysis of both works and engagement with existing House of Leaves scholarship (Hayles 2002; Hansen 2004; Pressman 2006; Slocombe 2005; Askin 2016), we argue that the transition from Danielewski to the Hexagon marks a phase shift from ergodic representation to executable architecturefrom the labyrinth as aesthetic experience to the labyrinth as governance problem. We identify twelve structural ancestries, formalize a revised theory of the operative sublime, and demonstrate that the Hexagon completes the architectural logic House of Leaves initiated but could not, given the material conditions of print culture in 2000, fully operationalize.

In the wake of 1808, writers struggled to imagine an extensive, meaningful narrative of Spanish history that would explain the continual crises the nation experienced, and point a way beyond them. But as such recurrent problems indicated, this very narrative was always already at the point of collapse. The problem intensified with the brief establishment of a republic (1873-74). This essay explores a 'literature of the First Republic', constituted by interrelated writings by three friends, Ros de Olano, Alarcón, and Valera, and including the latter's novel Pepita Jiménez. It argues that at the heart of these texts was a complex dialogue, centering on and responding to Ros de Olano's challenges to narrative form of History. Such a perspective helps us interpret a re-evaluated Alarcón and Pepita Jiménez as part of sophisticated efforts to re-conceive national genealogy when profound strains appear between 'lo grande' and 'lo pequeño', the overarching and the local, the grand narrative and the anecdotal.

In my creative research practice, I am interested in stretching new technologies and programmable languages in order to explore multimodal digital textualities. During the last seven years, I have developed projects assisted by programmers in order to create language-art media work through the exploration of interactive grammars, aesthetics, and poetics in digital writing. My interest in new literacies, new text, the reader/writer/performer of generative texts, sound, and visual interfaces in a world of unstable, generative visual words, is reflected in my creative work, and this essay considers how these concerns have unfolded through the development of an application for the iPad. The application, titled Gateway to the World (2014), was developed specifically for an exhibition in Hamburg, Germany. It is an exploration of data visualization poetics that use open data to visualize the routes of the vessels arriving at and departing from the Port of Hamburg, with the names of the vessels being mapped to Wikipedia entries. This paper establishes a context for the app through the discussion of artists' and designers' works, the presentation of ideas, notions, and concerns related to the creation of data visualization projects, as well as the creative process involved in the production of the application.

Sayı: 4, 2015
SUNUŞ

ODAK: KURAM VE YÖNTEM TARTIŞMALARI
Makaleler

Estetik Hafıza Olarak Telmih: Süreklilik ve Başkalaşım
Didem Havlioğlu

Değişen Fikirler, Felsefi Öncüller: Çağdaş Edebiyat Kuramında Felsefe
Berna Yıldırım

Postyapısalcı Edebiyat Kuramında Metnin, Okurun ve Okumanın Tekilliği
Mustafa Demirtaş

Yazınsal Çalışmalarda Dijital Yönelimler
Şevket Tüfekçi

Çeviriler

Eleştiri ve Sosyoloji
Antonio Candido (Çeviren: Başak Bingöl Yüce)

PASAJ
Makaleler

Ursula K. Le Guin İçin Farklılık ve Eşitlik: Diyalog, Diyalojik Roman ve Disiplinlerarasılık
D. Burcu Eğilmez

Fitne ve Feda: Vurun Kahpeye’de Din ve Milliyetçilik
Beyhan Uygun Aytemiz

Çeviriler

Cümle Ölçeğinde Biçem
Sarah Allison, Marissa Gemma, Ryan Heuser, Franco Moretti, Amir Tevel, Irena Yamboliev
(Çeviren: Nefise Kahraman)

MONOGRAF BULUŞMALARI
Açık Oturum

“Klasik Türk Edebiyatını Kendi Ürettiği Kavramlar Üzerinden Düşünmek”
Didem Havlioğlu, Berat Açıl, Bahadır Sürelli, Esra Derya Dilek

Türkiye’de Akademi Konuşmaları

“Bilgi Üretmiyorsan Sen Aktaransın, Akademisyen Değilsin”
Dilek Cindoğlu
Söyleşi: Ayşe Duygu Yavuz

Gelecek Sayı Çağrı Metni

Forthcoming Issue

Makale Yazım Kuralları
General Guidelines

In their writings on the Cuban artist Wifredo Lam, Surrealists and the related avant-garde forge a fictional construct, 'Wifredo Lam.' Their texts are explored in relation to what Andr e Breton identified as the two approaches to the artwork: a subjective approach expressed through poetic language; and an interpretation based on objective knowledge expressed through rational language. An overview of Lam's artistic activities focuses on his participation in Surrealist activities and his affinities with its principles. Breton goes further, appropriating the artist for Surrealism, attributing poetic, mythical and primitivizing qualities to the paintings. His interpretation contrasts with Leiris's ethnographic approach to Lam as 'un homme m etis' [a man of mixed ethnicity], corresponding to the second 'temptation' proposed by Breton. Finally, it will be argued that the two discourses often cohabit and merge, notably in texts on the artist by Aim e C esaire, for whom Lam was a political companion in their shared commitment to political liberation and the recognition of a Caribbean identity.

Salman Rushdie has been embroiled in controversies ever since his infamous book, The Satanic Verses hit the book stores in 1988. For some he has been an advocate of liberal values with a critical outlook, but for the most he is someone who insulted the core values of Islam and denounced the Prophet by portraying him as a human with all the flaws and follies intact. The paper seeks to situate the text outside the spectrum of controversies which largely emanate from the religious discomfort and thereby assigning it a place in the geopolitics of the postcolonial scenario which concern with the identity politics, the diasporic communities have to face once they cross the borders. In other words, the paper attempts a cosmopolitan reading of the text and flashes out the gaps and fissures in the cosmopolitan in the ideal/utopia the West adheres to however superficial it to be. Also the paper sheds some light on the secular model of the West practices and the viability of the same in the Indian context. The paper would help the readers be aware of the author's allegiance to the cosmopolitan as well as secular ideal of the West which affects the sensibilities of the postcolonial reader in a myriad ways.

This book is an interactive experimental project about creative writing and language, collectivity and multitudes. It is a collection of fictional archival materials (pages from diaries, correspondence, recipes, announcements, fiction, interviews, etc.) from the future that reflect the journey of a queer feminist collective living on a Mediterranean island. Through this fictional archival material, and their many authors and writing styles, we see personal and geopolitical developments in the wider region, as well as the aesthetic and linguistic changes created by “Medlish” (Mediterranean English). In Medlish—the language of the future and of the curators of this archival material—we read about their values, thoughts, and feelings about their own time and ours. The author invites you to read the book and to converse with her, whether as fictional characters or not.

The master's thesis reflects on W.S Burroughs oeuvre, it's novelty and transformation of transcendentalist philosophy in the writer's poetics. The work puts the absence of subjectivity in Burroughs' novels into question, traces the evolution of the subject and indicates new conditions of its existence.

In editie 502 van Tirade is onder meer de Nederlandse vertaling van de Franse tekst met de Engelse titel What a Man ! van Georges Perec opgenomen, onder dezelfde titel. What a Man ! is een monovocalistische tekst, wat hier betekent dat de klinker A de enige toegestane klinker is.

Perec schreef deze tekst in 1980 en is onder meer opgenomen in 'Oulipo. Atlas de littérature potentielle' (Gallimard, 1981). 

Dit e-book bevat verdiepende en verklarende achtergronden bij het origineel en de vertaling en kent een chronologische opzet.

In editie 502 van Tirade is onder meer de Nederlandse vertaling van de ‘Contouren Perec’ opgenomen. Het origineel is een Franse tekst van de hand van Étienne Lécroart, een oulipien. Uitgeverij Le Castor Astral gebruikte Lécroarts tekst als voorkant voor een uitgave van Georges Perecs What a Man !

Lécroart heeft 62 typische zinnen van en over Perec geconstrueerd. Gezamenlijk vormen ze de contouren van het karakteristieke hoofd van Georges Perec. Ik heb deze ‘Contouren Perec’ vertaald naar het Nederlands. De vertaling volgt de inhoud van de tekst op regelniveau en volgt de vorm, waardoor het hoofd van Perec zichtbaar blijft.

Dit e-book bevat verdiepende en verklarende achtergronden bij het origineel en bij de vertaling. Deze vertaalnotities komen het beste tot hun recht door ze direct naast het origineel en de vertaling te houden.

In editie 502 van Tirade is onder meer de Nederlandse vertaling van Morton’s Ob van Georges Perec opgenomen, onder de titel Voor Morton †. Morton’s ob is een monovocalistische tekst, wat hier betekent dat de klinker O de enige toegestane klinker is.

Perec schreef deze tekst in september 1981 in het Engels tijdens zijn 53-daagse verblijf in Australië. De tekst ontstond op een typemachine in twee uurtjes tijd, zonder dat hij op dat moment een woordenboek kon raadplegen. Dit schrijft hij in een begeleidend briefje dat hij eindigt met ‘So long folks’ (zie: Bellos, 1993).

Dit e-book bevat verdiepende en verklarende achtergronden bij het origineel en de vertaling en kent een chronologische opzet.

In Invisible Cities (1972), Italo Calvino contrasts a rigid outline structure with a  flexible  textual  content.  The  tension  comprised  by  the  numerical  structure proposed  in  the  table  of  contents  stands  out  against  the  set  of  polysemic  texts which  make  up  the  subject  matter  of  the  book.  The  opposition  between form and content point  to a  fruitful  dichotomy  in  the  conception  of  the  novel  linked  to  the theories  of  the  open  and  closed  work.  This  essay  will  investigate  the  structural construction of Invisible Cities by looking at its table of contents, seeking to discuss some  models  of  formalistic  representation  proposed  by  the  criticism  and  the specific contribution they may, or may not, provide. The objective is to analyze the pertinence  of  such  theories  in  the  light  of  historical  and  cultural  approaches. Aiming  to  uncover  possible  meanings which  arise  from  the  debate,  this  essay  will question to what extent structural complexities can be considered literary if they are not ultimately related to the culture in which a text is found.

This comprehensive volume offers compelling critical essays surveying the myriad forms of innovation in contemporary Anglophone life writing. Experimental Life Writing Today provides a historical and critical context for examining avant-garde tendencies in biography and autobiography and outlines the poetics of experimental life writing.
The volume is divided into two parts. The first is devoted to a selection of experimental genres of life writing: autofiction, biofiction, paramemoir, autotheory, graphic memoir, photo-memoir, eco-memoir and the lyric essay. Part Two includes chapters concerned with the following themes, concepts and devices set in the context of experimental life writing: illness, disability, mourning, relationality, place, catalogue, narration and fragmentation.

To ensure clarity and consistency, each chapter follows the same structure: a theoretical discussion of a given notion, comprising a brief discussion of its various aspects and examples, followed by a close reading of a chosen text. Case studies are devoted to significant contemporary works by authors such as Hazel V. Carby, J. M. Coetzee, Anne Garréta, Karen Green, Vona Groarke, Han Kang, Mary Karr, Deborah Levy, Hilary Mantel, Maggie Nelson, Ruth Ozeki, Mark Tredinnick, Una, D.J. Waldie and Wim Wenders. The volume is dedicated to exploring innovative forms of, and in, contemporary Anglophone life writing, and it makes an important contribution to a rich and burgeoning field of interdisciplinary practice and research.

This article examines the ways in which the emergent international
feminist movement in the 1970s impacted the reading and the
reception of literary texts written by women writers. It focuses on
the transnational circulation of literary texts and on the role of
feminist translation in this process through the analysis of a case
study: the work as translator of Michèle Causse, a French radical
lesbian writer, and, more specifically, her translation of Alice
Ceresa’s first novel, La figlia prodiga (1967), published in 1975 by
the éditions des femmes. Through the analysis of Causse’s translation
strategies this article shows how Causse’s translation represented
a major step in the international reception of the original
and changed the interpretation of Ceresa’s work considerably, by
inscribing it in the subfield of feminist experimental literature, and
by associating the Italo-Swiss author with the political category of
women writers. Causse’s work is a powerful example of how translation,
far from simply communicating and rearticulating meaning,
profoundly modifies it, and of how it can function both as a form of
literary criticism and of political interpretation of literary texts.

El objetivo de este trabajo es el estudio de los procedimientos figurativos, fónicos y paronímicos de este poemario excepcional, a la vez que incursionar en el paralelismo que, a nuestro juicio, puede entablarse entre el proyecto estético que culmina en esta odisea lingüística con las transgresiones del idioma cuya intencionalidad expresiva aparece tempranamente en muchos de los poemas de Trilce (1922). Según nuestra lectura, a pesar de las diferencias de estilos, habría en ambos escritores un objetivo compartido respecto de la sonoridad, las asociaciones y la significancia del significante más allá del significado del diccionario; en pocas palabras, una especie de parentesco poético entre el argentino y el peruano en relación con el desafío y la expansión de los límites del lenguaje.

With a well-grounded skepticism toward collective buzzwords that suddenly seem to be on everyone’s lips, Thomas Raab presents in this volume two essays that will help readers to put into perspective the image of what is being marketed to them today under the label of “artificial intelligence.”