A New Defense of Nonsense; or, Where Then Is His Phallus? and Other Questions Not to Ask

Heyman, Michael

doi:10.1353/chq.0.1108

Cited by 6 publications

(1 citation statement)

References 8 publications

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“…(Feng, 2009) Carroll's nonsense is never the absence of sense; instead, a strong presence of 'sense' is inherent in the 'non-sense'. (Heyman 1999) A nonsense text actually 'does not seek to limit the text's meaning to one single interpretation-on the contrary, its dissolution of sense multiplies meaning.' (Lecercle 1994: 20) It often turns out that the nonsense texts need meaning, 'at least as much, and perhaps even more so, than meaningful texts ... ' (ibid: 115) Readers need to use their linguistic imagination to explore the meaning and appreciate the humour.…”

Section: Introductionmentioning

confidence: 99%

Creation for Fidelity – Zhao Yuanren’s Translation of Lexical Nonsense in Alice’s Adventures in Wonderland

Qun-xing

2017

IJCLTS

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Carroll’s Alice’s Adventures in Wonderland is one of the best examples of the literary nonsense genre. The paper mainly regards nonsense as a rhetoric device for humour and amusement and seeks to examine Carroll’s nonsense creation devices mainly at the lexical level, and at the same time explore the strategies the Chinese translator Zhao Yuanren adopts in his translation. The paper finds out that there is a direct correlation between Carroll’s devices of nonsense creation and Zhao’s strategies in translating them. The strategies Zhao adopts show his creativity and experimentation in dealing with the seemingly untranslatable elements of humorous nonsense to achieve fidelity to the essence of the original work. In reconstructing Carroll’s nonsense, Zhao adheres as closely as he could to reproduce the comic effect of the original by different means of creation. In this sense, his translation is creative fidelity.

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Section: Introductionmentioning

confidence: 99%

Creation for Fidelity – Zhao Yuanren’s Translation of Lexical Nonsense in Alice’s Adventures in Wonderland

Qun-xing

2017

IJCLTS

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Nonsense

McGillis¹

2008

A Companion to Victorian Poetry

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“Does It Buzz?”: Image and Text in Edward Lear's Limericks

Hassett

2017

Victorian Literature and Culture

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The limericks of Edward Lear (1812–1888) prompted a mid-Victorian craze that flourishes to this day. Gorgeously illustrated new limericks appear in a 2015 issue of Poetry magazine (Madrid), a five-line skewering of Stalin is tucked into a recent New York Times obituary (Grimes). The newly founded Edward Lear Society celebrates at the Knowsley estate, and the keeper of the Edward Lear website adds a new feature on Lear and Comics. The British Academy's Chatterton lecturer attends to Lear's birds, including the parrot that “seized” a man's nose and the raven that “danced a quadrille” (Bevis 39, 41) – Lear's first work, it must be remembered, was the magnificent Illustrations of the Family of Psittacidae, or Parrots (1832). Of course he is best known today as a writer of nonsense (Peck 15). The illustrated limerick, his lighthearted venture into a double genre, perennially raises questions among his admirers and scholars about the internal dynamics linking its components. Borrowing from recent discussions of various picture-poem combinations, one might call the illustrated limericks in A Book of Nonsense “picture-limericks” (Dilworth 42), “imagetexts” (Mitchell, Picture Theory 89), or “iconotexts” (Louvel). As the labels all suggest, the core issue is the proximity of two media and whether or how they converge.

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A New Defense of Nonsense; or, Where Then Is His Phallus? and Other Questions Not to Ask

Cited by 6 publications

References 8 publications

Creation for Fidelity – Zhao Yuanren’s Translation of Lexical Nonsense in Alice’s Adventures in Wonderland

Creation for Fidelity – Zhao Yuanren’s Translation of Lexical Nonsense in Alice’s Adventures in Wonderland

Nonsense

“Does It Buzz?”: Image and Text in Edward Lear's Limericks

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