Digital Commons Network^™

Writing In The Language Of Reality: Interwar Experiments In Language, Robin Fuller

CALL: Irish Journal for Culture, Arts, Literature and Language

This paper examines projects in universal communication from the interwar period, including Charles Kay Ogden’s Basic English, Otto Neurath’s Isotype, and László Moholy-Nagy’s typo-photo. The projects under discussion — experiments in language reform, graphic design and photography — were all born from a dissatisfaction with the imprecise, arbitrary and historically-contingent nature of established languages and semiotic systems. A non-arbitrary mode of communication was sought, one that represented reality directly without translation through a cultural code.

A Revolt Of The Masses: Culture And Modernity In Early 20th Century Spain: From Bullfights To Football Games, Katrine Helene Andersen

CALL: Irish Journal for Culture, Arts, Literature and Language

This article discusses the consolidation of mass culture in early 20^th century Spain and analyses the discrepancy between the intellectual debate about Spanish culture and public behaviour. Bullfighting has throughout history been a much debated theme amongst intellectuals, and it has been banned by kings and the Church on several occasions. Nevertheless, there has always been an audience. In early 20^th century, football entered the scene of popular culture in Spain and gained very quickly in popularity. The article discusses the presence of the two and analyses the contribution of bullfighting and football to the process of modernisation …

Nikolai Shpanov And The Evolution Of The Soviet Spy Thriller, Duccio Colombo

CALL: Irish Journal for Culture, Arts, Literature and Language

It is a common opinion that Stalinist literature knew no explicitly popular genres, and that, consequently, its whole body can be regarded as popular culture. The case of Nikolai Shpanov is one of the most evident arguments against such an interpretation.

From the late Thirties to the early Fifties, Shpanov's works, centered around the fight with fiendish spies, had huge print runs and conspicuous success among the readers; yet, Soviet critics nearly ignored them. The publishing channels were not those of the officially endorsed "classics" of Socialist Realism, but rather what can be regarded as a Soviet equivalent of a …

When Popular Cultures Are Not So Popular: The Case Of Comics In France, Sylvain Aquatias

CALL: Irish Journal for Culture, Arts, Literature and Language

Studies about comics in France have often focused on the process of cultural legitimation. This process is made complex by the composition of the French readership of comics, which consists largely of children, and by the transmedia circulation and expansion of comics, including cartoons and videogames. These factors, and the role of peers’ prescription reduce the impact of cultural legitimacy. By contrast, when adults are concerned, a correlation between education and tastes in comic art can be clearly identified, as evidenced in the preference shown by adult readers with higher instruction level for graphic novels.

Comic art is characterised by …

Queer, Gender And Crime Fiction In French Studies: A Hazardous Scientific Endeavour, Andrea Hynynen

CALL: Irish Journal for Culture, Arts, Literature and Language

This article focuses on the multifaceted challenge faced by academics doing queer and gender studies of French crime fiction. It argues that the French literary arena still entertains a sharp divide between literature and commercialist mass fiction, which hinders the establishment of popular fiction studies. It further discusses the reasons for and the effect of queer theory’s late arrival to France, arguing that France’s strong republican ideal entails a fear of ghettoization that has undermined the development of gender and queer analysis, especially of literature. These phenomena, in combination with France’s centralized, traditionalist academic institutions and linguistic franco-centrism, contribute to …

The Way We Read Now: Middlebrow Fiction In Twenty-First Century Europe, Diana Holmes

CALL: Irish Journal for Culture, Arts, Literature and Language

The allocation of a novel to the category ‘middlebrow’ is partly a matter of marketing and shifting attitudes to literary value, but this article argues that it also designates certain stylistic and narrative qualities that are little esteemed by ‘serious’ critics, but appeal consistently to a wider reading public. The article focuses on one sub-category of contemporary middlebrow fiction, feminine crime, through a comparative analysis of novels by Fred Vargas (French) and Kate Atkinson (British). The argument addresses the relationship between popular and middlebrow within the genre of crime writing, and the ways in which a female perspective inflects generic …