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• Editor's Notes

  Lenke Németh

  Views:

  131

      

• “Close your eyes. Picture a character. . .”: A Route to Imagery and Creativity

  Lenke Németh

  Views:

  141

  Book review:

  García-Romero, Anne. The Fornes Frame: Contemporary Latina Playwrights and the Legacy of Maria Irene Fornes. Tucson: U of Arizona P, 2016. xiii + 240 pages. ISBN 978-0816531448. Pbk. $24.95.

• Editor’s Notes

  Lenke Németh

  Views:

  208

  Editor's notes

• A Heart’s Pledge in Metaerotopoetics

  Imre Olivér Horváth

  Views:

  173

  Book review:

  Gray, Erik. The Art of Love Poetry. Oxford: Oxford UP, 2018. 210 pages. ISBN 978-0-19-875297-4. Hb. £50.00.

• “He / looks into / his own eyes”: Thom Gunn’s Ekphrastic Poems

  Imre Olivér Horváth

  Views:

  381

  Thom Gunn’s oeuvre spanned more than four decades, during which he kept writing ekphrastic poems. The way words and images relate to each other in them, however, changed gradually and considerably. While his early work is characterized by the dominance of the verbal over the visual, his later poems from the 1970s and 80s question the dominance of language and attribute destructive power to the image. Word and image become reconciled in Gunn’s last two collections from the 1990s and 2000s, respectively. The gradual change in Gunn’s ekphrastic work corresponds to the development of his identity as a gay man; this identity, full-blown at the end of his career, is reflected in his mature treatment of images. (IOH)

• The Truth of Beauty and the Goodness of Chaos: Jim Clarke’s Nietzschean Burgess

  Ákos Farkas

  Views:

  85

  Book review:

  Clarke, Jim. The Aesthetics of Anthony Burgess: Fire of Words. Cham: Palgrave Macmillan, 2017. xviii + 303 pages. ISBN 978-3-319-66410-1. Hb. £49.29.

• Telling the Untellable: Trauma and Sexuality in Big Little Lies

  Zsófia O. Réti

  Views:

  738

  The problem of sexual violence, including rape, domestic assault, sexual harassment, and molestation has recently become a topical issue both in public discourse and popular culture. The unspoken individual traumas have found their way to the world of TV series, such as HBO’s mini-series Big Little Lies. The essay explores the unique ways in which the television series treats sexuality and personal traumas. It argues that while by no means can it be regarded as a soap opera, Big Little Lies occasionally uses and rewrites the genre-specific codes of this traditionally low-prestige television genre intended for women to alter the representation of individual traumas in popular culture. The use of flashbacks and involuntary repetition as narrative elements along with the retrospective framework of a criminal investigation make the serial form much suited to examine individual traumas. The television series attempts the almost impossible: to speak of the trauma’s unspeakability, and simultaneously it seeks to maintain its high viewership. (ZsOR)