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• W1566678006 abstract "till we have lost the world, do we begin to find ourselves ... H.D. Thoreau (1) Conversation, as linguists tell us, is a verbal exchange between two or more parties that involves turn taking, a common context and a common code. The activity itself is so familiar we hardly notice its form or forms as we practice them daily. Moreover, it is exactly the seeming formlessness, spontaneity and ease that make so precious--an aesthetic flower of civilization (to quote the French sociologist G. Tarde). As talk goes beyond that which is necessary to the purposes of actual business (2) and sociability is experienced as an end in itself--conversation borders on art and is, quite often, exemplified by art. The art of (embracing forms of address and response, mutual engagement, expectations and inferences etc.) is universal but variable, its variety represented by philosophic dialogues in the academic groves of Greece; or sermo communis in Ciceronian Rome; or converzatione, witty and biting, at 16th century Italian courts; or polished and ceremonious in 17th century Paris salons; or more easy-going in 18th century English coffee-houses; or later, even more democratic and egalitarian forms conversational interaction practiced in railroad cars, pubs, parlors and kitchens. According to Peter Burke, different cultures have their own ideals of conversation, which may overlap but rarely coincide. (3) In this discussion will figure not so much as a linguistic practice but in a broader, almost metaphoric sense, as a particular configuration of intersubjectivity and the corresponding technique of communication. Both tend to be highly individual (case-specific) but also culturally specific. This second dimension can only be approached through the close study of the first. As a literary historian, I naturally turn to fiction for material, assuming that a nation's writers are also its best experts. Not only does fiction mimic as dialogue between characters, but also enacts it in the complex relationship between author, narrator and reader. The act of reading as an act of can be described as vicarious of which the form, the rules and the vector we discover as we move through the text. In a sense, every book teaches us how to read it--and every literary tradition does, too. My own interest in literature-as-conversation comes largely out of the simple fact that as a teacher of American literary texts in Russia I observe time and time again how both my students and I react to the strange claims a text makes on us, its readers. Being socialized in a particular tradition we tend to take its specificity for granted--it functions as part of our vision and thus remains unseen, un-reflected. As a reader of American literature I find myself operating in a communicative space that feels curiously skewed, not exactly right compared to my own native norm: where you'd expect room you feel constrained, but where you'd expect determinacy you get none, or not enough, etc. There seem to be some delicate but undeniable differences in the conditions of a communication pact or the form of ideal conversation privileged by our two cultures. One discovers them experientially, but whether they can be identified, mapped or rationalized, remains to be seen. The analysis that follows has been undertaken with this aim in view. The two prose writers we shall consider, H.D. Thoreau and EM. Dostoyevski, are readily identified as canonical in the American and the Russian literary traditions, respectively. They were contemporaries but never met and knew nothing about each other. So far as I know, they were not even compared for lack of ground for comparison. What we shall attempt here would hardly qualify as a comparison; it is rather an experiment in metaphor, an invitation to these two authors to converse about themselves, or to stage a about the art of meaningful relationship and understanding. …" @default.
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• W1566678006 date "2003-02-01" @default.
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• W1566678006 title "Communication in the Higher Sense : Young Thoreau and Young Dostoy evski" @default.
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