Playing with Fire
This paper aims at delineating the different devices used by Graham Swift in his first novel, The Sweet Shop Owner, concerning the treatment of emotion. Both implicitly and explicitly, Swift is fond of taking risks when it comes to conveying emotion into words. Drawing on the work of Roger Caillois...
| Main Author: | |
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| Format: | Article |
| Language: | English |
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Presses Universitaires de la Méditerranée
2011-12-01
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| Series: | Études Britanniques Contemporaines |
| Subjects: | |
| Online Access: | http://journals.openedition.org/ebc/1354 |
| _version_ | 1818952356032675840 |
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| author | Marc Porée |
| author_facet | Marc Porée |
| author_sort | Marc Porée |
| collection | DOAJ |
| description | This paper aims at delineating the different devices used by Graham Swift in his first novel, The Sweet Shop Owner, concerning the treatment of emotion. Both implicitly and explicitly, Swift is fond of taking risks when it comes to conveying emotion into words. Drawing on the work of Roger Caillois (for his four types of game, including mimesis and ilinx), of Michel Collot (for his concept of ‘matière-émotion’) and Denis Donoghue, the author of a recent essay on eloquence, I will be focussing on those instances when Swift’s absolute mastery of emotion gives way to more or less calculated breaches in his patterning techniques. The conclusion finally reached is that there can be no economy of emotion, even if that means going to the lengths of playing with the writer’s own name. . . |
| first_indexed | 2024-12-20T09:49:04Z |
| format | Article |
| id | doaj.art-77773d7ea1ed48ea89cfd201690025a0 |
| institution | Directory Open Access Journal |
| issn | 1168-4917 2271-5444 |
| language | English |
| last_indexed | 2024-12-20T09:49:04Z |
| publishDate | 2011-12-01 |
| publisher | Presses Universitaires de la Méditerranée |
| record_format | Article |
| series | Études Britanniques Contemporaines |
| spelling | doaj.art-77773d7ea1ed48ea89cfd201690025a02022-12-21T19:44:39ZengPresses Universitaires de la MéditerranéeÉtudes Britanniques Contemporaines1168-49172271-54442011-12-014152210.4000/ebc.1354Playing with FireMarc PoréeThis paper aims at delineating the different devices used by Graham Swift in his first novel, The Sweet Shop Owner, concerning the treatment of emotion. Both implicitly and explicitly, Swift is fond of taking risks when it comes to conveying emotion into words. Drawing on the work of Roger Caillois (for his four types of game, including mimesis and ilinx), of Michel Collot (for his concept of ‘matière-émotion’) and Denis Donoghue, the author of a recent essay on eloquence, I will be focussing on those instances when Swift’s absolute mastery of emotion gives way to more or less calculated breaches in his patterning techniques. The conclusion finally reached is that there can be no economy of emotion, even if that means going to the lengths of playing with the writer’s own name. . .http://journals.openedition.org/ebc/1354Graham SwiftSweet Shop OwnerRoger CailloisMichel CollotDenis Donoghueemotion |
| spellingShingle | Marc Porée Playing with Fire Études Britanniques Contemporaines Graham Swift Sweet Shop Owner Roger Caillois Michel Collot Denis Donoghue emotion |
| title | Playing with Fire |
| title_full | Playing with Fire |
| title_fullStr | Playing with Fire |
| title_full_unstemmed | Playing with Fire |
| title_short | Playing with Fire |
| title_sort | playing with fire |
| topic | Graham Swift Sweet Shop Owner Roger Caillois Michel Collot Denis Donoghue emotion |
| url | http://journals.openedition.org/ebc/1354 |
| work_keys_str_mv | AT marcporee playingwithfire |