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Die Arbeit befasst sich mit der Schilderung von Paris im Erzählwerk von Delphine de Vigan, unter besonderer Berücksichtigung von zwei Romanen, No et moi (2007) und Les heures souterraines (2009), in denen der Großstadthintergrund einen zentralen Stellenwert erhält. Die Fragestellung richtet sich auf die Aspekte der Stadtdarstellung und auf die Rolle, die unterirdischen Durchgangsräumen dabei zugesprochen wird. Mögliche autoreflexive Deutungen der Stadt-Inszenierung in Bezug auf Sprache und Text, sowie Spuren einer mythisch-realistischen Charakterisierung der Stadt als Projektionsoberfläche des Imaginären
werden zum Schluss betrachtet.
Deep into the second half of the twentieth century the traditionalist definition of India as a country of villages remained dominant in official political rhetoric as well as cultural production. In the past two decades or so, this ruralist paradigm has been effectively superseded by a metropolitan imaginary in which the modern, globalised megacity increasingly functions as representative of India as a whole. Has the village, then, entirely vanished from the cultural imaginary in contemporary India? Addressing economic practices from upper-class consumerism to working-class family support strategies, this paper attempts to trace how 'the village' resurfaces or survives as a cultural reference point in the midst of the urban.
This article derives from two interdisciplinary research projects funded by the UK Arts and Humanities Research Council, involving the application of psychological experimental techniques to the study of poetic form and reader response. It discusses the semantic and expressive effects of space and pattern in innovative forms of contemporary British and American poetry. After referring to some historical and theoretical contexts for these issues, the article analyses the results of experiments using eye-tracking, manipulations of text, memory tests and readers' recorded responses and interpretations. The first group of poems studied were lineated, with extended spaces within lines and displacement of lines from the left margin. Referring to a poem from Geoffrey Hill'sCanaan(1996), the authors show that such use of space may serve to articulate syntactical structures, but may also promote richer interpretation by encouraging cross-linear semantic connections. The second technique studied was the break from linear into postlinear poetry, as an initially lineated sequence shifts to pages of dispersed text. In readings of Susan Howe'sPythagorean Silence(fromThe Europe of Trusts, 1990), the authors detected more radical effects of space, shape and pattern, with associated consequences for interpretative strategies and aesthetic responses. Finally, the article discusses the potential for both mutual support and heuristic challenge between an empirical study of reader response, and a historical-theoretical approach as exemplified by Jerome McGann's interpretation ofPythagorean Silence.