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Papers by Linda K Stillman

World Literature Today, 1983

Kentucky Romance Quarterly, 1979

Sub-stance, 1979

... I would have wanted, I still want,-to return to it. That gaze left me a warning, an enigma in... more ... I would have wanted, I still want,-to return to it. That gaze left me a warning, an enigma in body or soul. Nothing had been finished that day. ... Meme une affiche pour un savon, elle est mieux faite, plus coherente, plus loyale ... On y croit par sympathie." 17. ...

Studies in 20th & 21st century literature, 1985

At first glance, the works of Marguerite Yourcenar seem far removed from any specifically female ... more At first glance, the works of Marguerite Yourcenar seem far removed from any specifically female or feminist preoccupation and the author herself vigorously affirms the universality of her writing. Nevertheless, an intertextual reading of her fiction, autobiography, and interviews reveals that sexual difference is in fact an important aspect ofher texts. An analysis of repetitive lexical and rhetorical patterns clearly articulates Yourcenar's repressed feminine discourse.

Sub-stance, 1982

... 1 Ubu's legacy traces its iconoclastic path through Dadaism, Futurism, Surrealism, and A... more ... 1 Ubu's legacy traces its iconoclastic path through Dadaism, Futurism, Surrealism, and Artaud's Theater of Cruelty ... rial on Jarry's works, has occultated itself until the year 2000. ... Sartre, in a 1947 discussion of Mauriac's novels, announced the celebrated demise of the "privileged ...

Semiotica, 1986

If Alfred Jarry's creative eccentricity seems iconoclastic (which it is, in the sense of a de... more If Alfred Jarry's creative eccentricity seems iconoclastic (which it is, in the sense of a deliberate subversion of generally accepted values and a dismantling of the established discourse on such topics as sex and politics, time and space, life and death), Jarry was nonetheless a devout iconophile, according to the Peircean model of the typology of signs (CP 3.359-3.363). While textual and sensorial iconicity are — by definition of the medium — interdependent in the theater, it is recognized that the fundamental modality of the iconic theatrical sign is its plasticity (Pavis 1976: 61). An iconic-dominant play, such as Ubu Roi, is more akin to poetry than to narrative: its images and mesmerizing, lyrical puissance clparly take precedence over context and intrigue. Ubu Rofs overarching theatricality, as opposed to its dramatic or narrative force, coheres to its privileging of visual icons. The true semiological story of Jarry's systematic and inspired revamping of theatrical codes combines Peirce's concept of the icon with Charles Morris's trichotomy (i.e., semantics, syntactics, and pragmatics), for it is at the crossroads of an iconic dominance and a hypertrophied pragmatic function that Ubu reigns (Morris 1971: 43, 365). When the pragmatic function triumphs at the expense of the semantic and the syntactic instances, the spectator operates between two levels of interpretation: on the one hand, the denotation expressed by the plot. In the case of Ubu Roi this is the level of outrageous political coup and tragicomic exile, of obscenity and vulgar behavior. On the other hand, the spectator accedes simultaneously to an encoded, generative level of connotation. Jarry, as we shall see, invites us to consider his play's connotative level and evinces more than a passing interest in what semiologists, after Morris, call the pragmatic function of the theatrical sign.

Alfred Jarry, in his brief thirty-four year lifetime that ended in 1907, laid the foundation for ... more Alfred Jarry, in his brief thirty-four year lifetime that ended in 1907, laid the foundation for the avant-garde of the twentieth and twenty-first centuries' Western culture.[1] An innovator and rule-breaker, Jarry envisioned and formulated conscious 'Pataphysics, that is, the Science of imaginary solutions, the Science of the supplementary and virtual universe that investigates the particular and the dimension where art and science are on the same side of the coin.

Alfred Jarry, in his thirty-four year lifetime that ended in 1907, laid the foundation for the av... more Alfred Jarry, in his thirty-four year lifetime that ended in 1907, laid the foundation for the avant-garde of the twentieth and twenty-first centuries’ Western culture. An innovator and rule-breaker, Jarry envisioned and formulated conscious 'Pataphysics, that is, the Science of imaginary solutions, the Science of the supplementary and virtual universe that investigates the particular and the dimension where art and science are on the same side of the coin. As a science and an esthetic, Pataphysics integrates fragmentation, juxtaposition, shifting semiotic borders, creative destruction, playfulness, decentralization, mirroring and data linking.

Le Signe et la Lettre: Hommage à Michel Arrivé, Paris: L'Harmattan

Alfred Jarry: du Manuscrit à la Typographie

Nous sommes tous des collectionneurs de Jarry. Pourquoi collectionner? Qui d'autre collectionne? ... more Nous sommes tous des collectionneurs de Jarry. Pourquoi collectionner? Qui d'autre collectionne? Que constitue une collection? Comment collectionner? Que faire de sa collection?
Commençons par un bref aperçu historique et un contexte théorique. Passons au vaste sujet problématique de collectionner du Jarry de nos jours. Ensuite, accompagnez-moi: l'itinéraire de ma collection personnelle d'éditions et de revues originales, d'éditions rares, des tirages restreints, des livres d'artiste, des lettres manuscrites, des livres illustrés, des reliures d'art, et dont une partie, y rajoutant quelques pièces de ma collection de livres critiques, tableaux, affiches, et éphémera jarryque va en mars 2014 faire l'objet d'une exposition en bibliothèque.