On Literature and Teaching

  One of the most famous questions asked in linguistics – and there are a few – relates to the way language might influence our perceptions, and in particular whether the language you speak restricts your perceptions, or at least forces you to perceive in this way rather than that way. That’s what is known as the Sapir-Whorf hypothesis, with more or less strong versions. And while the strong version of their hypothesis (that the language you speak influences your perceptions) has largely been abandoned, milder, so-called weaker versions have been shown to operate in the world. When Frederic Jameson, the literary critic and theorist, wrote his seminal book ‘ The Prison-house of language’ (1972), he was partially referring to that idea, something Barthes or, of course, Derrida, were keen to emphasise as well. You inherit the language you speak: from people, from history, from a culture – the language you speak every day is not transparent, it is loaded, it carries ways of thinking th...

 (Part 2) Of course, an easy way to partition the town is to view it in terms of nationalities: French Literature, Japanese Literature, English Literature . But as the landscape of the town makes clear, blood relations supersede geography : Murakami claims Raymond Carver as a major influence on his own work, and Joyce admired Ibsen so much he wrote him a fan letter when he was 18 (where he doesn't shy away from telling Ibsen that, being old, he'll soon die and that he, Joyce, is ready to move in that space :)). That is probably why it is so difficult to determine what the literary character of a nation is; after all, there are neither stylistic, aesthetic, narrative or structural resemblances between Fielding, Blake, Dickens, Eliot, Sassoon and Kingsley Amis than there are between Martin Amis, Ishiguro, Magnus Mills or David Mitchell. And in fact, Mills and French author Toussaint are much closer to one another than Mills and Ishiguro, or Toussaint and Claudel. Eliot has more...