Gerald Monsman in this study abandons the customary chronological approach to Lamb's life in favor of a more incisive, open-ended discussion of the Elia essays. By a close textual examination of Lamb's language, he relates the essayist's use of symbol and autobiographical concerns. Monsman contends and demonstrates that "as sharply and as pertinently as any artistic voice, Elia, the most celebrated persona in the nineteenth century, focuses the problems inherent in the modern literary imagination." Elia's "textual identity is a function of the author's actual life, of losses and imperfections artistically utilized and harmonized, employed against themselves to produce the rehabilitating symbol."
“After Auschwitz to write even a single poem is barbaric.” The Conflagration of Community challenges Theodor Adorno’s famous statement about aesthetic production after the Holocaust, arguing for the possibility of literature to bear witness to extreme collective and personal experiences. J. Hillis Miller masterfully considers how novels about the Holocaust relate to fictions written before and after it, and uses theories of community from Jean-Luc Nancy and Derrida to explore the dissolution of community bonds in its wake.
Human consciousness, long the province of literature, has lately come in for a remapping--even rediscovery--by the natural sciences, driven by developments in Artificial Intelligence, neuroscience, and evolutionary biology. As the richest record we have of human consciousness, literature, David Lodge suggests, may offer a kind of understanding that is complementary, not opposed, to scientific knowledge. Writing with characteristic wit and brio, and employing the insight and acumen of a skilled novelist and critic, Lodge here explores the representation of human consciousness in fiction (mainly English and American) in light of recent investigations in the sciences.
How does the novel represent consciousness? And how has this changed over time? In a series of interconnected essays, Lodge pursues these questions down various paths: How does the novel's method compare with that of other creative media such as film? How does the consciousness (and unconscious) of the creative writer do its work? And how can criticism infer the nature of this process through formal analysis? In essays on Charles Dickens, E. M. Forster, Evelyn Waugh, Kingsley and Martin Amis, Henry James, John Updike, and Philip Roth, and in reflections on his own practice as a novelist, Lodge is able to bring to light--and to engaging life--the technical, intellectual, and sometimes simply mysterious working of the creative mind.
The first collection of critical essays on Maus, the searing account of one Holocaust survivor's experiences rendered in comic book form.
In 1992, Art Spiegelmans two-volume illustrated work Maus: A Survivor’s Tale was awarded a special-category Pulitzer Prize. In a comic book form, Spiegelman tells the gripping, heart-rending story of his father's experiences in the Holocaust. The book renders in stark clarity the trials Spiegelman's father endured as a Jewish refugee in the ghettos and concentration camps of Poland during World War II, his American life following his immigration to New York, and the author's own troubled sense of self as he grapples with his father's history. Mixing autobiography, biography, and oral history in the comic form, Maus has been hailed as a daring work of postmodern narration and as a vivid example of the power of the graphic narrative.
Now, for the first time in one collection, prominent scholars in a variety of fields take on Spiegelman's text and offer it the critical and artistic scrutiny it deserves. They explore many aspects of the work, including Spiegelman’s use of animal characters, the influence of other "comix" artists, the role of the mother and its relation to gender issues, the use of repeating images such as smoke and blood, Maus's position among Holocaust testimonials, its appropriation of cinematic technique, its use of language and styles of dialect, and the implications of the work’s critical and commercial success.
Informed readers in many areas of study, from popular culture and graphic arts to psychoanalysis and oral history, will value this first substantial collection of criticism on a revered work of literature.
Conspiracy theory as a theoretical framework has emerged only in the last twenty years; commentators are finding it a productive way to explain the actions and thoughts of individuals and societies. In this compelling exploration of Latin literature, Pagán uses conspiracy theory to illuminate the ways that elite Romans invoked conspiracy as they navigated the hierarchies, divisions, and inequalities in their society. By seeming to uncover conspiracy everywhere, Romans could find the need to crush slave revolts, punish rivals with death or exile, dismiss women, denigrate foreigners, or view their emperors with deep suspicion. Expanding on her earlier Conspiracy Narratives in Roman History, Pagán here interprets the works of poets, satirists, historians, and orators—Juvenal, Tacitus, Suetonius, Terence, and Cicero, among others—to reveal how each writer gave voice to fictional or real actors who were engaged in intrigue and motivated by a calculating worldview.
Delving into multiple genres, Pagán offers a powerful critique of how conspiracy and conspiracy theory can take hold and thrive when rumor, fear, and secrecy become routine methods of interpreting (and often distorting) past and current events. In Roman society, where knowledge about others was often lacking and stereotypes dominated, conspiracy theory explained how the world worked. The persistence of conspiracy theory, from antiquity to the present day, attests to its potency as a mechanism for confronting the frailties of the human condition.
From the creation of a neuter pronoun in her earliest work, L’Opoponax, to the confusion of genres in her most recent fiction, Virgile, non, Monique Wittig uses literary subversion and invention to accomplish what Erika Ostrovsky appropriately defines as renversement, the annihilation of existing literary canons and the creation of highly innovative constructs.
Erika Ostrovsky explores those aspects of Wittig’s work that best illustrate her literary approach. Among the countless revolutionary devices that Wittig uses to achieve renversement are the feminization of masculine gender names, the reorganization of myth patterns, and the replacement of traditional punctuation with her own system of grammatical emphasis and separation. It is the unexpected quantity and quality of such literary devices that make reading Monique Wittig’s fiction a fresh and rewarding experience. Such literary devices have earned Wittig the acclaim of her critics and peers—Marguerite Duras, Mary McCarthy, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon, to name a few.
While analyzing the intrinsic value of each of Wittig’s fictions separately, Erika Ostrovsky traces the progressive development of Wittig’s major literary devices as they appear and reappear in her fictions. Ostrovsky maintains that the seeds of those innovations that appear in Wittig’s most recent texts can be found as far back as L’Opoponax. This evidence of progression supports Ostrovsky’s theory that clues to Wittig’s future endeavors can be found in her past.
A token of the world’s instability and of human powerlessness, chance is inevitably a crucial literary theme. It also presents formal problems: Must the artist struggle against chance in pursuit of a flawless work? Or does chance have a place in the artistic process or product? This book examines the representation and staging of chance in literature through the study of a specific case—the work of the twentieth-century French writer Georges Perec (1936–82).
In Constraining Chance, James explores the ways in which Perec’s texts exploit the possibilities of chance, by both tapping into its creative potential and controlling its operation. These works, she demonstrates, strive to capture essential aspects of human life: its "considerable energy" (Perec’s phrase), its boundless possibilities, but also the constraints and limitations that bind it. A member of the Ouvroir de littérature potentielle (known as Oulipo), Perec adopted the group’s dictum that the literary work should be "anti-chance"—a product of fully conscious creative processes. James shows how Perec gave this notion a twist, using Oulipian precepts both to explore the role of chance in human existence and to redefine the possibilities of literary form. Thus the investigation of chance links Perec’s writing methods, which harness chance for creative purposes, to the thematic exploration of causality, chance, and fate in his writings.
Constraining Chance has received early praise from scholars in the field. Warren F. Motte calls it "an erudite, engaging, intellectually intrepid reflection on the ways in which one of the most powerful authors of the twentieth century grappled with the notion of chance. [James] writes with both elegance and authority, inviting us to see Georges Perec's work through a new lens, one where chance may be viewed as a positive potential, fully enlisted in the service of ‘intentional’ literature."
The thirteen essays in this collection combine to offer a complex and deeply nuanced picture of Samuel Clemens. With the purpose of straying from the usual notions of Clemens (most notably the Clemens/Twain split that has ruled Twain scholarship for over thirty years), the editors have assembled contributions from a wide range of Twain scholars. As a whole, the collection argues that it is time we approach Clemens not as a shadow behind the literary persona but as a complex and intricate creator of stories, a creator who is deeply embedded in the political events of his time and who used a mix of literary, social, and personal experience to fuel the movements of his pen.
The essays illuminate Clemens's connections with people and events not usually given the spotlight and introduce us to Clemens as a man deeply embroiled in the process of making literary gold out of everyday experiences. From Clemens's wonderings on race and identity to his looking to family and domesticity as defining experiences, from musings on the language that Clemens used so effectively to consideration of the images and processes of composition, these essays challenge long-held notions of why Clemens was so successful and so influential a writer. While that search itself is not new, the varied approaches within this collection highlight markedly inventive ways of reading the life and work of Samuel Clemens.
James Merrill is now widely recognized as one of the essential poets of our time, one of those whose achievement will define postwar American literature. The Consuming Myth is a discerning account of his work that will well serve amateur and initiate alike. Stephen Yenser ranges over all of Merrill’s writing to date, from a precocious book printed when its author was fifteen to his most recent publication, a verse play. He writes about both of the poet’s novels and pays particular attention to the epic poem The Changing Light at Sandover. His close readings shed light on Merrill’s boldly and subtly original techniques, his kinship with Mallarmé, Proust, Yeats, Stevens, and others, and the network of connections among his diverse undertakings.
Yenser suggests that Merrill’s special power springs in part from transactions between evidently opposing perceptions. On the one hand—as the result of some poetic version of what physicists call “pair production”—whatever Merrill looks at hard yields its contraries. All about him, and within him too, he discovers duality and division. On the other hand, he is profoundly aware of the interconnectedness of things, whether they be his life and his art (which we might think of as aspects of his work), or humanity and nature, or good and evil. It is out of quarrels with ourselves that we make poetry, Yeats observed; and it is in striving to accommodate intuitions of both difference and identity that Merrill has fashioned his distinctive manner.
Cormac McCarthy is renowned as the author of popular and acclaimed novels such as Blood Meridian, All the Pretty Horses, and The Road. Throughout his career, however, McCarthy has also invested deeply in writing for film and theater, an engagement with other forms of storytelling that is often overlooked. He is the author of five screenplays and two plays, and he has been significantly involved with three of the seven film adaptations of his work. In this book, Stacey Peebles offers the first extensive overview of this relatively unknown aspect of McCarthy’s writing life, including the ways in which other artists have interpreted his work for the stage and screen.
Drawing on many primary sources in McCarthy’s recently opened archive, as well as interviews, Peebles covers the 1977 televised film The Gardener’s Son; McCarthy’s unpublished screenplays from the 1980s that became the foundation for his Border Trilogy novels and No Country for Old Men; various successful and unsuccessful productions of his two plays; and all seven film adaptations of his work, including John Hillcoat’s The Road (2009) and the Coen brothers’ Oscar-winning No Country for Old Men (2007). Emerging from this narrative is the central importance of tragedy—the rich and varied portrayals of violence and suffering and the human responses to them—in all of McCarthy’s work, but especially his writing for theater and film.
Novelist Cormac McCarthy’s brilliant and challenging work demands deep engagement from his readers. In Cormac McCarthy’s House, author, painter, photographer, and actor-director Peter Josyph draws on a wide range of experience to pose provocative, unexpected questions about McCarthy’s work, how it is achieved, and how it is interpreted.
As a visual artist, Josyph wrestles with the challenge of rendering McCarthy’s former home in El Paso as a symbol of a great writer’s workshop. As an actor and filmmaker, he analyzes the high art of Tommy Lee Jones in The Sunset Limited and No Country for Old Men. Invoking the recent suicide of a troubled friend, he grapples with the issue of “our brother’s keeper” in The Crossing and The Sunset Limited. But for Josyph, reading the finest prose-poet of our day is a project into which he invites many voices, and his investigations include a talk with Mark Morrow about photographing McCarthy while he was writing Blood Meridian; an in-depth conversation with director Tom Cornford on the challenges of staging The Sunset Limited and The Stonemason; a walk through the streets, waterfronts, and hidden haunts of Suttree with McCarthy scholar and Knoxville resident Wesley Morgan; insights from the cast of The Gardener’s Son about a controversial scene in that film; actress Miriam Colon’s perspective on portraying the Dueña Alfonsa opposite Matt Damon in All the Pretty Horses; and a harsh critique of Josyph’s views on The Crossing by McCarthy scholar Marty Priola, which leads to a sometimes heated debate. Illustrated with thirty-one photographs, Josyph’s unconventional journeys into the genius of Cormac McCarthy form a new, highly personal way of appreciating literary greatness.
In the continuing redefinition of the American West, few recent writers have left a mark as indelible as Cormac McCarthy. A favorite subject of critics and fans alike despite—or perhaps because of—his avoidance of public appearances, the man is known solely through his writing. Thanks to his early work, he is most often associated with a bleak vision of humanity grounded in a belief in man's primordial aggressiveness.
McCarthy scholar Barcley Owens has written the first book to concentrate exclusively on McCarthy's acclaimed western novels: Blood Meridian, National Book Award winner All the Pretty Horses, The Crossing, and Cities of the Plain. In a thought-provoking analysis, he explores the differences between Blood Meridian and the Border Trilogy novels and shows how those differences reflect changing conditions in contemporary American culture.
Owens captures both Blood Meridian's wanton violence and the Border Trilogy's fond remembrance of the Old West. He shows how this dramatic shift from atavistic brutality to nostalgic Americana suggests that McCarthy has finally given his readers what they most want—the stuff of their mythic dreams.
Owens's study is both an incisive look at one of our most important and demanding authors and a penetrating analysis of violence and myth in American culture. Fans of McCarthy's work will find much to consider for ongoing discussions of this influential body of work.
In recent years George Herbert’s poetry has been analyzed by some of our most distinguished literary critics. Offering close readings of central poems, and insights derived from contemporary literary theory, Barbara Leah Harman takes her place in their company.
She begins by surveying the critical tradition on Herbert’s work in our century—from George Herbert Palmer to Stanley Fish. In this penetrating assessment Harman explores the relationship between critical practice and belief.
The impulse toward self-representation is, she argues, a powerful one in Herbert’s work, and it is also an impulse thwarted and redesigned in extraordinary ways. In poems Harman calls fictions of coherence and “chronicles of dissolution,” speakers both protect and dismantle their own narratives, and because they do they raise questions about the values we attach to stories and about the difficulties we undergo when stories fail to represent us in traditional ways.
The works of Edward Abbey have been well known to general readers since the 1960’s. This volume, the first comprehensive collection of literary criticism devoted to the entire challenging corpus of Abbey’s fiction and nonfiction, couldn’t be more timely or significant.
From the perspective of his scholarly critics in Western American literature and environmental studies Ed Abbey is, in a word, problematic. As Peter Quigley, volume editor, comments, "The title of this collection refers to a number of references within Abbey’s work. The maze is a place of myriad canyons, of wonder, and a place where the desperadoes in The Monkey Wrench Gang could lose the authorities. The coyote refers to the slippery figure in Native American myth, a figure, known to Abbey, that always eluded definition an could slip out of every trap set to catch him." In this long-awaited anthology, eighteen intrepid scholars have chosen to ignore the coyote’s reputation, tracking Abbey in one masterful and illuminating essay after another through the canyons of anarchist politics, philosophy, feminist literary criticism, post-structuralism, and rhetoric, as well as nature and environmental theory and activism.
The Cracks Between What We Are and What We Are Supposed to Be forms an extended consideration not only of Harryette Mullen’s own work, methods, and interests as a poet, but also of issues of central importance to African American poetry and language, women’s voices, and the future of poetry.
Together, these essays and interviews highlight the impulses and influences that drive Mullen’s work as a poet and thinker, and suggest unique possibilities for the future of poetic language and its role as an instrument of identity and power.
Nikolai Gogol, Russia’s greatest comic writer, is a literary enigma. His masterworks—“The Nose,” “The Overcoat,” The Inspector General, Dead Souls—have attracted contradictory labels over the years, even as the originality of his achievement continues to defy exact explanation.
Donald Fanger begins by considering why this should be so, and goes onto survey what Gogol created, step by step: an extraordinary body of writing, a model for the writer in Russian society, a textual identity that eclipses his scanty biography, and a kind of fiction unique in its time.
Drawing on a wealth of contemporary sources, as well as on everything Gogol wrote, including journal articles, letters, drafts, and variants, Fanger explains Gogol’s eccentric genius and makes clear how it opened the way to the great age of Russian fiction. The method is an innovative mixture of literary history and literary sociology with textual criticism and structural interrogation. What emerges is not only a framework for understanding Gogol’s writing as a whole, but fresh and original interpretation of individual works.
A concluding section, “The Surviving Presence,” probes the fundamental nature of Gogol’s creation to explain its astonishing vitality. In the process a major contribution is made to our understanding of comedy, irony, and satire, and ultimately to the theory of fiction itself.
Five of Coleridge's major poems are given fresh scrutiny in this arresting study. One of its unusual features is the attention given the Preface to “Kubla Khan,” the Gloss to The Ancient Mariner, and other prose accompaniments to the poems usually dismissed as extraneous. Devices such as these, the author argues, are strategically employed by Coleridge in an effort to engage the reader in a fully imaginative response.
Kathleen Wheeler elucidates the texts in terms of aesthetic experience and also in terms of the philosophical principles that inform them, showing how Coleridge's theories of mind and imagination function within the poems and shape their design. A subtle and gifted reader of poetry, she enriches our understanding of poems we thought we knew well, and provides insights along the way into the creative process.
This study revolves around the career of Kobayashi Hideo (1902–1983), one of the seminal figures in the history of modern Japanese literary criticism, whose interpretive vision was forged amidst the cultural and ideological crises that dominated intellectual discourse between the 1920s and the 1940s.
Kobayashi sought in criticism a vehicle through which to rhetorically restore to the artistic work an aura of concreteness that precluded interpretation and instead inspired awe, to somehow recover a literary experience unmediated by intellectual machinations. In adhering firmly to this worldview for the duration of World War II, Kobayashi came to assume a complex stance toward the wartime regime. Although his interweaving of aesthetics and ideology exhibited elements of both resistance and complicity, his critical ethos served ultimately to undergird his wartime fascist stance by encouraging acquiescence to authority, championing patriotism, and calling for more vigorous thought control.
Treating Kobayashi’s influential works and the historical context in which they are rooted, James Dorsey traces the emergence of a modern critical consciousness in conversation with such concerns as the nature of materiality in capitalist culture, the relationship of narrative to subjectivity, and the nostalgia for beauty in a time of war.
Frederick Aldama’s The Cinema of Robert Rodriguez (2014) was the first full-scale study of one of the most prolific and significant Latino directors making films today. In this companion volume, Aldama enlists a corps of experts to analyze a majority of Rodriguez’s feature films, from his first break-out success El Mariachi in 1992 to Machete in 2010. The essays explore the formal and thematic features present in his films from the perspectives of industry (context, convention, and distribution), the film blueprint (auditory and visual ingredients), and consumption (ideal and real audiences). The authors illuminate the manifold ways in which Rodriguez’s films operate internally (plot, character, and event) and externally (audience perception, thought, and feeling).
The volume is divided into three parts: “Matters of Mind and Media” includes essays that use psychoanalytic and cognitive psychology to shed light on how Rodriguez’s films complicate Latino identity, as well as how they succeed in remaking audiences’ preconceptions of the world. “Narrative Theory, Cognitive Science, and Sin City: A Case Study” offers tools and models of analysis for the study of Rodriguez’s film re-creation of a comic book (on which Frank Miller was credited as codirector). “Aesthetic and Ontological Border Crossings and Borderlands” considers how Rodriguez’s films innovatively critique fixed notions of Latino identity and experience, as well as open eyes to racial injustices. As a whole, the volume demonstrates how Rodriguez’s career offers critical insights into the filmmaking industry, the creative process, and the consuming and reception of contemporary film.
The contributors assembled here, leading exponents of contemporary critical methods as well as close students of Blake, argue the grounds, purposes, and validity of each approach and then apply its method in detailed readings of Blake's works. We see deconstruction, psychoanalytic interpretation, feminist critique, semiotic analysis, Marxist criticism, revisionism, and other methods brought to bear on Blake's texts and into confrontation with one another by those best able to do so.
Through the essays themselves and in the reaction they will certainly provoke, Critical Paths will bring increased theoretical awareness to the study of Blake and will further the ongoing redefinition of Blake's art. At the same time, the collection investigates the general problem of methodology in literary studies by means of a casebook examination of modern critical approaches. Blake criticism and current literary theory here come together; the encounter illuminates and enriches both.
A brilliant approach to the queerness of one of Taiwan’s greatest auteurs
A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy offers a fascinating, systematic method for analyzing the queerness of Tsai’s films.
Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai’s films help us understand queerness in terms of spatial, temporal, and sexual disorientation.
Conceiving of Tsai’s cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai’s body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema.
The career of Matthew Arnold as an eminent poet and the preeminent critic of his generation constitutes a remarkable historical spectacle orchestrated by a host of powerful Victorian cultural institutions.
The Cultural Production of Matthew Arnold investigates these constructions by situating Arnold’s poetry in a number of contexts that partially shaped it. Such analysis revises our understanding of the formation of the elite (and elitist) male literary-intellectual subject during the 1840s and 1850s, as Arnold attempts self-definition and strives simultaneously to move toward a position of ideological influence upon intellectual institutions that were contested sites of economic, social, and political power in his era.
Antony H. Harrison reopens discussion of selected works by Arnold in order to make visible some of their crucial sociohistorical, intertextual, and political components. Only by doing so can we ultimately view the cultural work of Arnold “steadily and … whole,” and in a fashion that actually eschews this mystifying premise of all Arnoldian inquiry which, by the early twentieth century, had become wholly naturalized in the academy as ideology.
The works of the second-century satirist Lucian--of which about seventy survive--have had a marked influence on western literature since the Renaissance. Translated by Erasmus, and called "inimitable" by Gibbon, Lucian is the first to tell the famous story of the Sorcerer's Apprentice. His subjects range from the hypocrisy of philosophers to fantastic voyages in space. He is often thought the true father of science fiction and, at the same time, is one of the most important witnesses to early Christianity. C. P Jones examines Lucian's work, setting this brilliant writer in the social and intellectual context of an age that proved pivotal in Greco-Roman history.
Lucian's art has been widely considered bookish, concerned with people and customs he and his readers knew only from literature. Jones argues that on the contrary his attacks on such targets as mercenary Stoics and the snake-god Glycon were aimed with mischievous precision. The result is a fresh portrait of Lucian and a vivid picture of a society whose outward assurance masked uncertainty and the onset of profound change.
Culture in the Anteroom introduces an English-speaking readership to the full range of Siegfried Kracauer's work as novelist, architect, journalist, sociologist, historian, exile critic, and theorist of visual culture. This interdisciplinary anthology---including pieces from Miriam Bratu Hansen, Andreas Huyssen, Noah Isenberg, Lutz Koepnick, Eric Rentschler, and Heide Schlüpmann---brings together literary and film scholars, historians and art historians, sociologists, and architects to address the scope and current relevance of a body of work dedicated to investigating all aspects of modernism and modernity. The contributors approach Kracauer's writings from a variety of angles, some by placing them in dialogue with his contemporaries in Weimar Germany and the New York Intellectuals of the 1940s and '50s; others by exploring relatively unknown facets of Kracauer's oeuvre by considering his contributions to architectural history, the history of radio as well as other new media, and museum and exhibition culture.
The Culture of Christina Rossetti explores a “new” Christina Rossetti as she emerges from the scrutiny of the particular historical and cultural context in which she lived and wrote. The essays in this collection demonstrate how the recluse, saint, and renunciatory spinster of former studies was in fact an active participant in her society’s attempt to grapple with new developments in aesthetics, theology, science, economics, and politics.
The volume examines Rossetti’s poetry, fiction, and nonfiction from a variety of theoretical and critical perspectives in order to reevaluate her place in the Victorian world of art, literature, and ideas. The essays offer a radical rethinking of her best-known poems, retrieve neglected works, establish the diversity of her writing, and reposition Rossetti within a canon continually under formation.
Contributing to the ongoing retrieval of the nineteenth-century woman poet, The Culture of Christina Rossetti highlights Rossetti’s responses to both male and female literary traditions and explores her incorporation and revision of literary influences from medieval Italian sources to contemporary writers.
Cultures of Modernism explores how the structure and location of literary communities significantly influence who writes, what they write about, and their openness to formal experimentation. These influences particularly affect women writers. Author Cristanne Miller notes striking patterns of similarity in the concerns and lives of women living in geographically distant centers of modernist production. She looks at three significant poets---the American Marianne Moore, the British expatriate Mina Loy, and the German Else Lasker-Schüler---in the context of cultural, national, and local elements to argue that location significantly affected their performances of subjectivity, gender, race, and religion. The first book of its kind, Cultures of Modernism breaks new ground while it contributes to the ongoing reconception of the modernist period.
"A fascinating, provocative, and genuinely original study of a 'different' modernism in poetry---namely, the Modernism of women poets."
---Marjorie Perloff, Stanford University
"An important and ambitious work that makes major contributions to the fields of gender studies and modernist studies, and to the study of modernist poetry."
---Robin Schulze, Pennsylvania State University
"Offers a welcome corrective to the unreflective critical tendency . . . to make broad claims about the historical experiences and cultural conundrums of 'women,' and particularly 'women writers.' Miller offers tour-de-force comparative readings . . . threading together the world-historical with the personal, poetics with the political, and wielding the instruments of scansion as deftly as a surgeon."
---Modernism/modernity, The Official Journal of the Modernist Studies Association
Cristanne Miller is Edward H. Butler Professor of English and Chair of the English Department at the University of Buffalo, State University of New York.
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