Articles by David F. Bell
Forma da vida: Revista do Programa em Teoria da Literatura da Universidade de Lisboa ISSN 2183-1343, 2016
Touch is such an essential sense for the experience of closeness in an increasingly crowded conte... more Touch is such an essential sense for the experience of closeness in an increasingly crowded contemporary world that it would appear to be an indispensable element to build into the new twenty-first century network of instantaneous digital communication... The language both of computer programming and of our ways of describing the broader organization of our correspondence with parties physically removed from us intersects tellingly with the semantics of touch. We maintain “contact” lists; we “reach out” to each other; we “stay in touch” with someone, for example.
Contemporary French Civlization, 2005
South Atlantic Quarterly (107:2), 2008
Explores the relation between literature and space as Michel Serres analyzes it.
Signs of Change: Premodern, Modern, Postmodern, 1996
Articulations of Difference: Gender Studies and Writing in French, 1997
Lingua Romana (ISSN: 1551-4730), 2009
Special Issue on Honoré de Balzac
Since the archaeologist can potentially be presented with an... more Special Issue on Honoré de Balzac
Since the archaeologist can potentially be presented with an infinite series of relics or remains (the case when contemplating the traces of the Napoleonic Empire), certain ones among them have to be cut out of the continuum and elevated to exemplary status, after which they can be proposed as illustrations to stand for something beyond their immediate singularity, that is, for a totality forever beyond the grasp of any encompassing perspective. The parallel operation in the context of the literary text would be to create—or re-create—discrete scenes that can be designated by their prominence to stand for the whole. Faced with the dilemma of infinite details, as Balzac was when reflecting on the Empire, only certain details can be used, only certain historical moments can be described—and they will have to stand for the rest. Of course, for archaeologists, the opposite situation can often be true as well: they might, in fact, uncover only one precious find and be forced to extrapolate on the basis of the slimmest evidence possible.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
Papers by David F. Bell
Text, Context: Transatlantic Sokal
Yale French Studies, 2001
L'A. se penche sur l'affaire Sokal et l'interprete a la lumiere de deux genres litter... more L'A. se penche sur l'affaire Sokal et l'interprete a la lumiere de deux genres litteraires, le canard (comme dans Illusions perdues de Balzac) et le sottisier (comme dans Dictionnaire des idees recues de Flaubert). Le debat sur le relativisme, la relation entre la recherche scientifique et la theorie litteraire et les implications plus larges constituent pour l'A. une mauvaise interpretation du developpement intellectuel francais depuis la deuxieme Guerre mondiale
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Articles by David F. Bell
Since the archaeologist can potentially be presented with an infinite series of relics or remains (the case when contemplating the traces of the Napoleonic Empire), certain ones among them have to be cut out of the continuum and elevated to exemplary status, after which they can be proposed as illustrations to stand for something beyond their immediate singularity, that is, for a totality forever beyond the grasp of any encompassing perspective. The parallel operation in the context of the literary text would be to create—or re-create—discrete scenes that can be designated by their prominence to stand for the whole. Faced with the dilemma of infinite details, as Balzac was when reflecting on the Empire, only certain details can be used, only certain historical moments can be described—and they will have to stand for the rest. Of course, for archaeologists, the opposite situation can often be true as well: they might, in fact, uncover only one precious find and be forced to extrapolate on the basis of the slimmest evidence possible.
Papers by David F. Bell
Since the archaeologist can potentially be presented with an infinite series of relics or remains (the case when contemplating the traces of the Napoleonic Empire), certain ones among them have to be cut out of the continuum and elevated to exemplary status, after which they can be proposed as illustrations to stand for something beyond their immediate singularity, that is, for a totality forever beyond the grasp of any encompassing perspective. The parallel operation in the context of the literary text would be to create—or re-create—discrete scenes that can be designated by their prominence to stand for the whole. Faced with the dilemma of infinite details, as Balzac was when reflecting on the Empire, only certain details can be used, only certain historical moments can be described—and they will have to stand for the rest. Of course, for archaeologists, the opposite situation can often be true as well: they might, in fact, uncover only one precious find and be forced to extrapolate on the basis of the slimmest evidence possible.