Relevant bibliographies by topics / French symbolist literature

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'French symbolist literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "French symbolist literature"

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Oboladze, Tatia. "Georgian Symbolism: Context and Influence." International Journal of Applied Linguistics and English Literature 7, no. 2 (March 1, 2018): 110. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.1p.110.

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In the 1910s in the Georgian literary area the first Symbolist group TsisperiQantsebi (The Blue Horns) comes into being, with a clearly defined purpose and aesthetic position, which implied renewing the Georgian literature and including it into the Western context. Desiring to expand the thought area and to modernize Georgian literature, Georgian Symbolists rested on the philosophical and worldview principles of French Symbolism. Georgian Symbolism appears as an original invariant generated from the French Symbolist aesthetics, which is unequivocally national.
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Pack, R. "Symbolism in French literature." Literator 11, no. 1 (May 6, 1990): 67–76. http://dx.doi.org/10.4102/lit.v11i1.794.

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To talk of Symbolism in French literature may be ambiguous, as two different categories of writers have been grouped under this generic term: the symbolists stricto sensu, such as Moréas or Viélé-Griffin, who were mostly minor poets, and some great figures of French literature. The aim of this article is to show that, although Symbolism as an organized movement did not produce any important contribution, the nineteenth century witnessed indeed the emergence of a new trend, common to several poets who were inclined to do away with the heritage of the classical school. These poets - of whom Baudelaire, Verlaine, Rimbaud and Mallarmé are the most renowned, although they did not really associate with the symbolist school, created individualistic poetry of the foremost rank.
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Dayan, P. "French Symbolist Poetry and the Idea of Music." French Studies 62, no. 3 (July 1, 2008): 352. http://dx.doi.org/10.1093/fs/knn034.

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Greenberg, Meg. "Synesthesia and Literary Symbolism." Forum Italicum: A Journal of Italian Studies 43, no. 2 (September 2009): 362–84. http://dx.doi.org/10.1177/001458580904300203.

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‘Synesthesia and Literary Symbolism’ broadens the well-established relationship between synesthesia and French Symbolist poetry to include Marinetti's experimentation with sensory blurring. Synesthesia was a recognized medical condition that came to public awareness by the end of the nineteenth-century both because of work made available to the public as well as there being a general sense associated with modernity of nervousness. The Symbolist poets beginning with Baudelaire applied the scientific concept of synesthesia as a metaphor to describe the modern condition. The feeling of the interconnectedness of the body and the city was picked up on most notably by Jules Romains, the founder of Unanimism and by Gustave Kahn and Gian Pietro Lucini, who helped to breathe new life into poetry by freeing verse of its traditional meter. Marinetti followed the example of his predecessors with the invention of the parole in libertà, which allowed for the representation of sensory overload.
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Broome, Peter. "The Sound of Silence: French Symbolist Poetry and Music." Australian Journal of French Studies 42, no. 2 (May 2005): 192–206. http://dx.doi.org/10.3828/ajfs.42.2.192.

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Peeters, L. "Digterskap en poëtíkale besinning by vier Franse Simboliste." Literator 13, no. 1 (May 6, 1992): 119–34. http://dx.doi.org/10.4102/lit.v13i1.729.

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When one studies the influence of French Symbolism on contemporary Western poetry it is necessary to define both Symbolism and influence. The first term is problematic not only because it is difficult to delimitate the reality it designates but because of the nature of the movement itself Rather than defining from the outside we will try to understand the genesis of the work of the four great 'symbolist’ poets in France, namely Nerval, Baudelaire, Rimbaud, and Mallarme. We do not consider the notion of influence as causal but as a confrontation from one poet’s work with that of another, the presence of poets of the past in the thinking of later poets. The structural genesis of the poetics of the four poets shows a marked resemblance in as far as they' all overestimate the creative capabilities of imagination and language. Their poetry is not so much a meditation about the essence of poetry as an interrogation about its power to change reality. Modem poetry develops thus inside a tension between dream and action, but it is only now, in the work of the most lucid contemporary' poets, and after the sometimes draconian claims of theory in the human sciences, that attention has focused on a possible solution of poetry's dilemma which was already present in the French poet's work: this solution can be indicated with the word caritas in the strong sense of the word namely the acceptation of contingency, the need of incarnation and the pursuit of universality through poetic language.
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Jannarone, Kimberly. "L'Amour Chez Jarry: Rupture, Ridicule, and Theatre." New Theatre Quarterly 27, no. 4 (November 2011): 329–40. http://dx.doi.org/10.1017/s0266464x11000650.

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Alfred Jarry, best known for his scandalous 1896 play Ubu Roi, wrote an equally scandalous work in 1898: L'Amour en visites (Visits of Love). This hybrid novel/play dramatizes several of Alfred Jarry's battles with the Symbolist movement, literary form, and inherited traditions. It is a work about rupture on all levels. In this article Kimberly Jannarone investigates the text and its backstory to give a greater understanding of Jarry's work and the last days of the Symbolist movement. Tracing the life of a central character, Lucien, who plays different roles as he travels through naturalistic and fantastic realms in a deviant coming-of-age story, L'Amour en visites condenses Jarry's formal and personal rejection of the worlds around him, especially that of the Symbolist literary scene. Culminating in a sensational coup de théâtre – a pair of lovers being flushed down the toilet – L'Amour en visites marked the closure of one part of Jarry's work and a chapter of his life. Kimberly Jannarone is the author of Artaud and His Doubles (University of Michigan Press, 2010). As well as two earlier essays on Jarry in New Theatre Quarterly – in NTQ 98 (May 2009) and NTQ 67 (August 2001) – she has published essays on avant-garde literature and performance in Theatre Journal, Theatre Survey, French Forum, TDR, Modernism/Modernity, and a book chapter on The Exquisite Corpse. Jannarone is Associate Professor of Theater Arts at the University of California, Santa Cruz.
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Halchuk, Oksana. "Tragic fool of French literature as a topos of identity (from Victor Hugo and Paul Verlaine artistic experience)." Synopsis: Text Context Media 26, no. 3 (2020): 73–83. http://dx.doi.org/10.28925/311-259x.2020.3.1.

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The symbol, as an archetype with inexhaustible meanings, remains a relevant object of scientific research. Especially when it comes to symbols used by different national cultures. One of such symbols, an image of the tragic fool, is quite favoured by the writers of romanticism and the turn of the twentieth century. A general interest in their artistic and aesthetic systems, the multiplicity of interpretations of archsymbols, and the specifics of their authorial and national manifestations in literature determine the relevance of this study. The subject of the study is the specifics of the image of the tragic fool in the works the French writers iconic for romanticism (Victor Hugo) and symbolism (Paul Verlaine). Historical and literary, comparative and typological, archetypal scientific methods are used in the work. Their potential made it possible to consider the functioning peculiarities of the image of a tragic fool through the prism of identity. The broad context of this problem made it possible to solve several objectives: to outline the origins of the image; determine the factors of its actualization in the romanticism and modernism works; and analyze the authors’ versions of interpretation. Herein is the novelty of the study. The results of the study are as follows: in French literature of romanticism and symbolism — given such a common ideological and artistic basis for their aesthetics as individualism — in Hugo’s romance the tragic fool is a grotesque mark of the era, a symbol of unresolved complex social problems. In contrast, the symbolist Verlaine perceives the tragic fool an alter ego of the contemporary artist in particular and a man of the era in general, giving preference to aesthetic and philosophical priorities over social. The high potential of the autobiographical content of the image of the tragic fool is a peculiar feature of the modernist interpretation. He functions both as a lyrical hero and a mask of an autolyrical character. In literary mystifications, it is a character under a double mask. In the artist’s chosen strategy of realization of the life scenario, this symbol is expressed in the form of feigned asociality, épater le bourgeois, primitivism as an imitation of creativity, self-parody. Further studies are promising; the image of the tragic fool in various national literatures is a common tool for writers to mockingly demonstrate the “interior” of the social and world order. At the same time, the tragic accent of this image lies in the tradition to perceive one’s work as a manifesto of “hateful love” for one’s time, homeland, and the world.
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Wheeldon, Marianne. "Anti-Debussyism and the Formation of French Neoclassicism." Journal of the American Musicological Society 70, no. 2 (2017): 433–74. http://dx.doi.org/10.1525/jams.2017.70.2.433.

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Much of the literature on neoclassicism in music focuses on Stravinsky or on the Stravinsky-Schoenberg polemic that emerged in the mid-1920s. Yet both approaches to neoclassicism bypass a crucial moment in its early formation: the former neglects Stravinsky's engagement with the musical priorities of postwar Paris, while the latter ignores the fact that many of the themes that would later crystallize under the banner of neoclassicism were first developed in opposition not to Schoenberg's music but to Debussy's. As described by Jacques Rivière in a letter to Stravinsky of 1919, the postwar musical climate was “anti-impressionist, anti-symbolist, and anti-Debussyist.” This article revisits the debates that appeared in the Parisian musical press between 1919 and 1923, a period in which the term “neoclassicism” had not yet been coined but in which a new, anti-Debussyist aesthetic was nevertheless emerging. Recognizing the role of anti-Debussyism in the formation of neoclassicism is necessary if we are to understand the motivation behind the movement, a motivation that was responsible for establishing its compositional priorities, instrumentation, and aesthetic. Regardless of what neoclassicism later came to represent—be it a return to counterpoint, to Bach, or to the eighteenth century—its initial impetus was much more straightforward. Rather than looking to pre-Romantic traditions, its beginnings were to be found closer to home, going no further back than the reaction against Debussy, Debussyism, and the prewar generation.
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Litvinenko, Ninel A. "The concept of “neo” and the novels of G. Rodenbach: between romanticism and symbolism." RUDN Journal of Studies in Literature and Journalism 25, no. 4 (December 15, 2020): 682–91. http://dx.doi.org/10.22363/2312-9220-2020-25-4-682-691.

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Various forms of transition in literature and art of the turn of 19th and 20th centuries havent been explored enough. The use of the concept of neo allows to clarify the ideas of neo-romanticism that have developed in modern science. The article analyzes the novel heritage of the Belgian writer Rodenbach as a transitional phenomenon that brings together the writer's tetralogy with romanticism, Parnassus and symbolist French poetry; as well as phenomenon that organically includes Belgian literature in the European space of intertextuality. It is proved that addressing the problems of art, the artist-creator, the beautiful soul, connects Rodenbach with the traditions of Yens romanticism, at a new stage of development of literature generates a transformation of the myth of romanticism. The ideal of art is not subject to devaluation, but the artist, who lives in society, always fails. Indulging in earthly passion, coming into conflict with society and himself, he doesnt keep faith in his beliefs. Real life creates illusions and self-deception, leading the character to disaster. Rodenbach uses a romantic model of mythologization, saturating it with symbolic allusions and signs, on the eve of modernism creates a neo-romantic novel synthesis.
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Dissertations / Theses on the topic "French symbolist literature"

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Frendo, Maria. "T.S. Eliot and the music of poetry." Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4565/.

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This thesis is a study of T.S. Eliot's poetry in the light of the different ways in which it can be considered 'musical'. Two concerns central to the thesis are: (1) Eliot's enduring interest in the musical quality of poetry; (2) the critical usefulness and viability of drawing analogies between his poetry and music. The thesis considers three important related topics: (1) Eliot's preoccupation with language, its inevitability and its inadequacy; (2) the figure of the seeker in his poetry; (3) his interest in mysticism. The thesis begins by exploring affinities between music and literature in the context of Wagner’s ideal of the 'Gesamtkunstwerk' and its influence on French Symbolist writers. It goes on to trace the development of T.S. Eliot's poetic style as influenced by the French Symbolist poets, by Dante and the mediaeval mystics, and by the music of Wagner, Stravinsky and other composers. Throughout, Eliot's poetry presents variations on the theme of detachment and involvement in relation to the figure of the seeker: consciousness is most engaged and challenged when it journeys. In the early poetry, music serves to emphasize failed relationships: the closer the physical proximity between protagonists, the greater the psychological distance. From The Waste Land on, Eliot makes use of myth and leitmotif to portray consciousness in the role of seeker urged on by the need for meaning. After his conversion to Anglo-Catholicism in 1927, Eliot's characters embark on a journey inward, where music, now "unheard", no longer signifies neurosis and despair, but becomes the only language for the ineffable.
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Culpepper, Abigail. "Towards an Ethic of the Lyric: Taking on the Other in “La Mort de Cleopatre” by Marie Krysinska." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564684012184959.

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Vilain, Robert Leon. "The poetry of Hugo von Hofmannsthal and French symbolism : tradition and inhibition." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320987.

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Gibbard, Paul. "Anarchism in English and French literature, 1885-1914 : Zola, the symbolists, Conrad and Chesterton." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367774.

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Howell, Evan. "‘Some Can’t Be That Simple’: Flannery O’Connor’s Debt to French Symbolism." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2913.

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In this thesis, I trace the influence of French Symbolist poetry on the works of Flannery O’Connor. Many of O’Connor’s influences are well-known and documented, including Catholicism, the South, modern fiction, and her battle with lupus. However, I argue that Symbolism, via its influence on Modernist literature, is another major influence. In particular, I focus on several aspects of O’Connor’s writing: the recurrence of the same symbol across multiple works, the central location of symbols in several stories, the use of private symbols of the author’s invention, and use of symbol, rather than language, to convey transcendence. Aided by the scholarship of critics such as Richard Giannone, Laurence Porter, and Margaret Early Whitt, I argue that there is much in the aesthetic of Flannery O’Connor to suggest that her writing is, in part, a legacy of the French Symbolists.
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Xiang, Zheng. "La poésie française moderne (Baudelaire, Rimbaud, Lautréamont) et son influence sur la nouvelle poésie chinoise dans les années 1920-1930." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2012. http://tel.archives-ouvertes.fr/tel-00713100.

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Ce travail de recherche porte sur la poésie française moderne et son influence sur la nouvelle poésie chinoise au cours de la première vague d'introduction et d'interprétation des littératures occidentales en Chine dans les années 1920-1930. Nous cherchons à montrer comment les " Trois Grâces " de la poésie française moderne : Baudelaire, Rimbaud et Lautréamont ont été introduits en Chine et quelle est leur influence sur l'élaboration de la nouvelle poésie chinoise. Ainsi, nous montrons d'abord comment expriment Baudelaire, Rimbaud et Lautréamont par leur poésie le culte du moi, le culte du Beau et le jeu de dépersonnalisation et de pluralisation du moi. Nous examinons ensuite l'influence des littératures occidentales sur la construction de la nouvelle littérature chinoise dans les années 1920 ; et l'introduction et l'interprétation de la poésie symboliste française et son influence au niveau théorique aussi bien que pratique sur la nouvelle poésie chinoise et les poètes dits symbolistes chinois : Li Jinfa, Mu Mutian, Wang Duqing, Dai Wangshu. Enfin, nous montrons le cas Lautréamont en Chine, son absence dans les années 1920-1930 et l'état de la recherche lautréamontienne en Chine dans les trois dernières décennies. Notre thèse conduit donc à montrer que les " Trois Grâces " de la Poésie nouvelle ne jouissent pas tous du même prestige auprès du monde poétique chinois dans les années 1920-1930 et que son interprétation de la poésie française moderne n'est pas une adoption de toute une attitude de création poétique de celle-ci, mais une transformation du dynamisme poétique imposé de l'extérieur en dynamisme créateur interne de la poésie chinoise. Elle correspond aux intentions claires et guidées par le système de valeurs littéraires et morales des traducteurs-interprétateurs chinois des différentes époques.
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Talavera, Ibarra Pedro Leonardo. "The changing view on the world : from symbolism to avant-garde in Russian, French and Latin American literature /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Thesis (Ph. D.)--University of Texas at Austin, 1999.
Vita. Text in English, with some Russian, French and Spanish. Includes bibliographical references (leaves 222-240). Available also in a digital version from Dissertation Abstracts.
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Robert-Nicoud, Vincent Corentin. "The world upside-down in sixteenth-century French literature and visual culture." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:1c0536cf-ffcf-4324-a626-19075e1acca8.

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To call something 'inverted' or 'topsy-turvy' in the sixteenth century is, above all, to label it as abnormal, unnatural and going against the natural order of things. The topos of the world upside-down brings to mind a world returned to its initial state of primeval chaos, in which everything is inside-out, topsy-turvy and out of bounds: fish live in trees, children rule over their parents, wives command their husband and rivers flow back to their source. This thesis undertakes a detailed account of the development of the topos of the world upside-down in sixteenth-century French literature and visual culture. By examining different uses of this topos - comic, moralising and polemical - it relates the transformations of the topos to religious, social and political conflicts of the period. To explain the shift of this topos from comic and moralising device to satirical and polemical tool, this thesis argues that troubled times produce troubled texts. In order to demonstrate this hypothesis, two kinds of evidence will be examined: Chapter 1 and Chapter 2 present diachronic evidence of the 'polemicisation' of the topos of the world upside-down in literary genres of the period (adages, paradoxes and emblems) and within François Rabelais's body of work; Chapter 3 and 4 provide synchronic evidence of the polemical use of the topos of the world upside-down during the French religious wars in Huguenot and Catholic polemic and in depictions of socio-political turmoil. Charting the variety of uses of the topos of the world upside-down throughout the sixteenth century, this thesis connects the world upside-down and its historical context; and contributes to the scholarship on religious polemic.
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Gironce-Evrard, Marie-Anne. "La symbolique des saisons dans la poésie lyrique, en Italie, en Espagne et en France, 1465-1645 un prétexte pour dire le temps /." Villeneuve d'Ascq, France : Presses Universitaires du Septentrion, 2000. http://books.google.com/books?id=Wk9ZAAAAMAAJ.

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Burgon, Haleigh Heaps. "Redemption in the Life and Work of Camille Claudel." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/2987.

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Camille Claudel is a sculptor who has traditionally been approached in terms of her relationship to Rodin and his influence on her work. Indeed, the two shared a passionate relationship and there are certainly similarities between the two sculptors' work which provide for fascinating analyses. However, one of the acknowledged but previously unexplored speculations on Claudel's art suggests that it involves a measure of veiled spirituality sealed within its stone. It is precisely this sacred element within her sculptures that offers viewers an opportunity to experience transcendence while identifying with fundamental themes. Furthermore, Claudel created her figures as a method of interior healing and deliverance. This theme of redemption will be essential to arriving at the more profound, multifaceted interpretations of her sculptures. To highlight the connections to the various artists and movements discussed in the thesis, Claudel's piously thematic art can be compared to the nontraditional illustrations by Vincent Van Gogh, Paul Gauguin, and the religious depictions of James Tissot, as well as being seen as engaging with the idea of theosophy and the Symbolist art movement. It is true that in fin-de-siècle France, due to the advancing secularization of society, viewers did not understand religious and spiritual symbolism in art as comprehensively as they had in the past. However, it will be necessary to show that Claudel was not the only artist interested of her era who persisted in conveying spiritual themes within supposedly secular scenes. Yet, Claudel's work remains unique in that it communicates the theme of redemption through its creation as well as through its creator. Chez Claudel, the art and the artist are united and one cannot be fully understood without the other. Moreover, through her masterpieces, she did not only offer insight into the meaning of existence; through her redemptive works she found momentary salvation for herself and for others from the excruciating outward oppression present at the close of the 19th century. Unfortunately, since the moment she began to successfully achieve recognition for her work critics have been content to view each of Camille Claudel's sculptures as a deliberate response to her tumultuous relationship with Rodin. This thesis will investigate more enlightened interpretations made possible when one simultaneously considers the role of her spirituality. It will become unmistakably clear that Camille's brother Paul was right when he stated that her work is vastly different from all other artists' "because it welcomes light and radiates the inner dream that inspired it" (Ayral-Clause 157).
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Books on the topic "French symbolist literature"

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Ezra Pound and the symbolist inheritance. Princeton, N.J: Princeton University Press, 1992.

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Symbolist objects: Materiality and subjectivity at the fin de siècle. High Wycombe, England: Rivendale Press, 2009.

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Symbolist landscapes: The place of painting in the poetry and criticism of Mallarmé and his circle. London: Modern Humanities Research Association, 1989.

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Porter, Laurence M. The crisis of French symbolism. Ithaca: Cornell University Press, 1990.

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Poem & symbol: A brief history of French symbolism. University Park: Pennsylvania State University Press, 1990.

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Wojtynek-Musik, Krystyna. Poétiser à la manière symboliste: Étude sur les techniques symbolistes de l'imaginaire et de la versification. Katowice: Wydawn. Uniwersytetu Śląskiego, 2000.

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Lire le symbolisme. Paris: Dunod, 1993.

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The influence of French symbolism on modern American poetry. New York: AMS Press, 1985.

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Vilain, Robert. The poetry of Hugo von Hofmannsthal and French symbolism. Oxford: Clarendon Press, 2000.

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Tucci, Patrizio. Stromates: Du XIVe siècle au symbolisme. Padova: Unipress, 2004.

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Book chapters on the topic "French symbolist literature"

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Berg, Christian. "The Symbolic Deficit. French Literature in Belgium and 19th Century National Sentiment." In Nationalism in Belgium, 61–71. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1007/978-1-349-26868-9_6.

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Kane, Daniel. "Richard Hell, Genesis: Grasp, and the Making of the Blank Generation." In "Do You Have a Band?", 90–120. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231162975.003.0005.

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From his early days in the Neon Boys through the Voidoid’s Blank Generation, Hell seeded references to Nerval, Rimbaud, Artaud, and other writers into his lyrics. While the influence of French literature on Hell’s musical output is fairly well documented, however, what is not investigated sufficiently is how, like a number of the musicians considered here, Hell’s love for French romantic, symbolist and surrealist literature coincided with an increasing attraction to the chirpy poetics of sociability then dominant in New York’s literary avant-gardes. Beginning with an in-depth reading of Hell’s editorship of a Lower East Side-based literary magazine Genesis : Grasp, this chapter moves on to explore how the St. Mark’s poets’ critical engagement with seriousness as a mode informed Hell’s literary and musical tastes. Hell would never read poetry or listen, sing and play music in such a way as to presuppose solemnity, intensity and passion were prima facie good things.
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"The French Symbolists." In Encyclopedia of Literature and Criticism, 315–27. Routledge, 2002. http://dx.doi.org/10.4324/9780203403624-27.

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McGuinness, Patrick. "Symbolism." In The Cambridge History of French Literature, 479–87. Cambridge University Press, 2011. http://dx.doi.org/10.1017/chol9780521897860.055.

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Boboc, Marta Teodora. "The Story of the Unborn." In Handbook of Research on Contemporary Storytelling Methods Across New Media and Disciplines, 314–40. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6605-3.ch017.

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This chapter focuses on a relatively new kind of narrative, concerning storytelling from inside the womb as it offers an inner perspective on both outside social matters and on the first stage of life as well. The author of the given chapter aims to explore the specific features of such a narrative, by comparing the novels of three writers, Pascal Bruckner, Chinghiz Aitmatov, and Ian McEwan, that belong to three different cultural spaces, French, Kyrgyz, and English. The basic elements of a story (plot, setting, characters, point of view, theme, symbolism, conflict, and resolution) are taken into account and their contrastive analysis is meant to reveal some key concepts that define an innovative way to approach literature.
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El Shakry, Hoda. "Apocalyptic Aftershocks in al-Ṭāhir Waṭṭār’s Al-zilzāl." In The Literary Qur'an, 83–99. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286362.003.0004.

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Chapter 3 explores the use of Qurʾanic imagery and intertextuality in al-Ṭāhir Waṭṭār’s (1936–2010) apocalyptic 1974 novel al-Zilzāl [the Earthquake]. The novel follows the misanthropic Shaykh ʿAbd al-Majīd Bū al-Arwāḥ as his capitalist aspirations are thwarted by Algerian socialist reforms and increasingly prescient images of the earthquake of the Day of Resurrection. Its satirical portrayal of Bū al-Arwāḥ calls attention to the complicity of the religious elite with French colonialism. By reworking the symbols and mythology of Islamic eschatology, al-Zilzāl challenges hegemonic discourses of Arabism and Islamism in Algerian nationalist discourse. The chapter reads the novel against the grain of Waṭṭār’s own false binary of Arabic (national) and Francophone (non-national) literature. It does so by examining the work’s generic hybridity, conscious manipulation of narrative time and space, as well as its incorporation of the Qurʾan alongside various registers of the Arabic language.
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Sheard, Stephen. "Tyranny of the Eye? The Resurgence of the Proto-Alphabetic Sensibility in Contemporary Electronic Modes of Media (PC/Mobile Telephony); and its Significance for the Status of Knowledge." In Handbook of Research on Knowledge-Intensive Organizations, 133–50. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-176-6.ch009.

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Abstract:
In this chapter the author offers an argument towards the resurgence of a proto-alphabetic imagination in electronic and mobile communications. It is suggested that contemporary trends in mobile telephony which encapsulate the earlier advances in PC development are shifting electronic media – not towards a mythic culture of the aural (McLuhan) but towards an admixture of the aural and visual, aslant the controlling trope of the alphabetical. It is argued that this separation of technologies resembles the predecessors of writing technologies of a “proto”-alphabetic nature. This infuses the literature of management with a metaphysical animism, which is redolent of the faded animism, which marked the initial confluence of the pre-alphabetical sensibilities of Eye and Voice in the pre-alphabetic emergence of mankind. This is suggested as a fresh Symbolic form towards which mankind is advancing. The confluence of ideological tensions preceding these developments is traced; including debates as to conflicts of Word and Sacred (Ricoeur); or Postmodern aversion towards contemporary ocular dominance. This debate leads towards an evaluation of the role and significance of kinds of knowledge which underpin our knowledge society and the knowledge which we take to constitute “knowledge management”.
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