A SCHOLARLY BOOK REPOSITORY564 start with R start with R
Beginning with an exploration of the ways in which women are represented—how they either tell or have their stories told in literature, in the law, in a courtroom—this collection demonstrates the interrelatedness of the legal and the literary. Whether considering the status of medieval women readers or assessing the effectiveness and extent of contemporary rape law reform, the essays show that power first comes with telling one’s own story, and that the degree and effect of that power are determined by the cultural significance of the forum in which the story is presented. But telling the story is not enough. One must also be aware of how the story is contained within traditional constructs or boundaries and is thus limited in its effects, as Carol Sanger’s essay on mothers and legal/sexual identity makes clear. One must also recognize how a story might perpetuate an ideological agenda that is not in the best interests of the storyteller, as Elizabeth Butler Cullingford shows in her reading of Yeats’s "Leda and the Swan" and one must know the historical context of a story and of its telling, as Anne B. Goldstein’s essay on lesbian narratives discloses.
Breaking down the boundaries between law and literature, this anthology makes evident the ways in which the effect of women’s stories has been constrained and expands the range of possibilities for those who represent women, tell women’s stories, or present women’s issues. Representing Women makes the retelling of old stories about women compelling and the telling of new ones both necessary and possible.
Contributors. Kathryn Abrams, Linda Brodkey, Rita Copeland, Elizabeth Butler Cullingford, Margaret Anne Doody, Susan B. Estrich, Michelle Fine, Anne B. Goldstein, Angela P. Harris, Susan Sage Heinzelman, Christine L. Krueger, Martha Minow, Carol Sanger, Judy Scales-Trent
The Platonic ideal of government.
Plato of Athens, who laid the foundations of the Western philosophical tradition and in range and depth ranks among its greatest practitioners, was born to a prosperous and politically active family ca. 427 BC. In early life an admirer of Socrates, Plato later founded the first institution of higher learning in the West, the Academy, among whose many notable alumni was Aristotle. Traditionally ascribed to Plato are thirty-six dialogues developing Socrates’ dialectic method and composed with great stylistic virtuosity, together with thirteen letters.
Republic, a masterpiece of philosophical and political thought, concerns righteousness both in individuals and in communities, and proposes an ideal state organized and governed on philosophical principles. This edition, which replaces the original Loeb edition by Paul Shorey, offers text, translation, and annotation that are fully current with modern scholarship. The Loeb Classical Library edition of Plato is in twelve volumes.
Plato, the great philosopher of Athens, was born in 427 BCE. In early manhood an admirer of Socrates, he later founded the famous school of philosophy in the grove Academus. Much else recorded of his life is uncertain; that he left Athens for a time after Socrates' execution is probable; that later he went to Cyrene, Egypt, and Sicily is possible; that he was wealthy is likely; that he was critical of 'advanced' democracy is obvious. He lived to be 80 years old. Linguistic tests including those of computer science still try to establish the order of his extant philosophical dialogues, written in splendid prose and revealing Socrates' mind fused with Plato's thought.
In Laches, Charmides, and Lysis, Socrates and others discuss separate ethical conceptions. Protagoras, Ion, and Meno discuss whether righteousness can be taught. In Gorgias, Socrates is estranged from his city's thought, and his fate is impending. The Apology (not a dialogue), Crito, Euthyphro, and the unforgettable Phaedo relate the trial and death of Socrates and propound the immortality of the soul. In the famous Symposium and Phaedrus, written when Socrates was still alive, we find the origin and meaning of love. Cratylus discusses the nature of language. The great masterpiece in ten books, the Republic, concerns righteousness (and involves education, equality of the sexes, the structure of society, and abolition of slavery). Of the six so-called dialectical dialogues Euthydemus deals with philosophy; metaphysical Parmenides is about general concepts and absolute being; Theaetetus reasons about the theory of knowledge. Of its sequels, Sophist deals with not-being; Politicus with good and bad statesmanship and governments; Philebus with what is good. The Timaeus seeks the origin of the visible universe out of abstract geometrical elements. The unfinished Critias treats of lost Atlantis. Unfinished also is Plato's last work of the twelve books of Laws (Socrates is absent from it), a critical discussion of principles of law which Plato thought the Greeks might accept.
The Loeb Classical Library edition of Plato is in twelve volumes.
The Platonic ideal of government.
Plato of Athens, who laid the foundations of the Western philosophical tradition and in range and depth ranks among its greatest practitioners, was born to a prosperous and politically active family ca. 427 BC. In early life an admirer of Socrates, Plato later founded the first institution of higher learning in the West, the Academy, among whose many notable alumni was Aristotle. Traditionally ascribed to Plato are thirty-six dialogues developing Socrates’ dialectic method and composed with great stylistic virtuosity, together with thirteen letters.
Republic, a masterpiece of philosophical and political thought, concerns righteousness both in individuals and in communities, and proposes an ideal state organized and governed on philosophical principles. This edition, which replaces the original Loeb edition by Paul Shorey, offers text, translation, and annotation that are fully current with modern scholarship. The Loeb Classical Library edition of Plato is in twelve volumes.
Plato, the great philosopher of Athens, was born in 427 BCE. In early manhood an admirer of Socrates, he later founded the famous school of philosophy in the grove Academus. Much else recorded of his life is uncertain; that he left Athens for a time after Socrates' execution is probable; that later he went to Cyrene, Egypt, and Sicily is possible; that he was wealthy is likely; that he was critical of 'advanced' democracy is obvious. He lived to be 80 years old. Linguistic tests including those of computer science still try to establish the order of his extant philosophical dialogues, written in splendid prose and revealing Socrates' mind fused with Plato's thought.
In Laches, Charmides, and Lysis, Socrates and others discuss separate ethical conceptions. Protagoras, Ion, and Meno discuss whether righteousness can be taught. In Gorgias, Socrates is estranged from his city's thought, and his fate is impending. The Apology (not a dialogue), Crito, Euthyphro, and the unforgettable Phaedo relate the trial and death of Socrates and propound the immortality of the soul. In the famous Symposium and Phaedrus, written when Socrates was still alive, we find the origin and meaning of love. Cratylus discusses the nature of language. The great masterpiece in ten books, the Republic, concerns righteousness (and involves education, equality of the sexes, the structure of society, and abolition of slavery). Of the six so-called dialectical dialogues Euthydemus deals with philosophy; metaphysical Parmenides is about general concepts and absolute being; Theaetetus reasons about the theory of knowledge. Of its sequels, Sophist deals with not-being; Politicus with good and bad statesmanship and governments; Philebus with what is good. The Timaeus seeks the origin of the visible universe out of abstract geometrical elements. The unfinished Critias treats of lost Atlantis. Unfinished also is Plato's last work of the twelve books of Laws (Socrates is absent from it), a critical discussion of principles of law which Plato thought the Greeks might accept.
The Loeb Classical Library edition of Plato is in twelve volumes.
Aurelio Lippo Brandolini’s Republics and Kingdoms Compared is the most fascinating and least-known work of humanist political theory before Machiavelli. A Socratic dialogue set in the court of King Mattias Corvinus of Hungary (ca. 1490), the work depicts a debate between the king himself and a Florentine merchant at his court on the relative merits of republics and kingdoms.
In effect a searing critique of Florentine civic humanism, the work discusses such issues as free trade and the morality of commerce, the inequalities of wealth typical of republics, the nature of freedom and justice, the reasons for the rise and fall of empires, the causes of political corruption, and the conditions necessary for the flourishing of arts, letters, and culture generally. This is the first critical edition and the first translation into any language.
Leading Conradian scholar Daniel R. Schwarz assembles his work from over the past two decades into one crucial volume, providing a significant reexamination of a seminal figure who continues to be a major focus in the twenty-first century. Schwarz touches on virtually all of Joseph Conrad's work including his masterworks and the later, relatively neglected fiction.
In his introduction and in the persuasive and insightful essays that follow, Schwarz explores how the study of Conrad has changed and why Conrad is such a focus of interest in terms of gender, postcolonial, and cultural studies. He also demonstrates how Conrad helps define the modernist cultural tradition.
Exploring such essential works as Heart of Darkness, Lord Jim, Nostromo, and "The Secret Sharer," Schwarz addresses issues raised by recent theory, discussing the ways in which contemporary readers, including, of course, himself, have come to read Conrad differently. He does so without abandoning crucial Conradian themes such as the disjunction between interior and articulated motives and the discrepancies between dimly acknowledged needs, obsessions, and compulsions and actual behavior.
Schwarz also touches on the extent to which Conrad's conservative desires for a few simple moral and political ideas were often at odds with his profound skepticism. A powerful close reader of Conrad's complex texts, Schwarz stresses how from their opening paragraphs Conrad's works establish a grammar of psychological, political, and moral cause and effect.
Rereading Conrad sheds new light on an author who has spoken to readers for over a century. Schwarz's essays take account of recent developments in theory and cultural studies, including postcolonial, feminist, gay, and ecological perspectives, and show how reading Conrad has changed in the face of the theoretical explosion that has occurred over the past two decades. Because for over three decades Schwarz has been an important figure in defining how we read Conrad and in studying modernism, including how we respond to the relationship between modern literature and modern art, scholars, teachers, and students will take great pleasure in this new collection of his work.
In Re-reading Poets, Paul Kameen offers a deep reflection on the importance of poets and poetry to the reader. Through his historical, philosophical, scholarly, and personal commentary on select poems, Kameen reveals how these works have helped him form a personal connection to each individual poet. He relates their profound impact not only on his own life spent reading, teaching, and writing poetry, but also their potential to influence the lives of readers at every level.
In an examination of works by William Wordsworth, Samuel Taylor Coleridge, Walt Whitman, and others, Kameen seeks to sense each author’s way of seeing, so that author and reader may meet in a middle ground outside of their own entities where life and art merge in deeply intimate ways. Kameen counters ideologies such as New Criticism and poststructuralism that marginalize the author, and instead focuses on the author as a vital presence in the interpretive process. He analyzes how readers look to the past via “tradition,” conceptualizing history in ways that pre-process texts and make it difficult to connect directly to authors. In this vein, Kameen employs examples from T. S. Eliot, Martin Heidegger, and Mikhail Bakhtin.
Kameen examines how people become poets and how that relates to the process of actually writing poems. He tells of his own evolution as a poet and argues for poetry as a means to an end beyond the poetic, rather than an end in itself. In Re-reading Poets, Kameen’s goal is not to create a new dictum for teaching poetry, but rather to extend poetry’s appeal to an audience far beyond academic walls.
A distinguished group of contributors here examine early modern imperialisms including the Ottomans in Eastern Europe, the Portuguese in East India, and the cases of Mughal India and China, to historicize the charge of unique Spanish brutality in encounters with indigenous peoples during the Age of Exploration. The geographic reach and linguistic breadth of this ambitious collection will make it a valuable resource for any discussion of race, national identity, and religious belief in the European Renaissance.
Committed to rigorous “close reading” and engagement with the “text itself” rather than information “extrinsic” to the text, John Crowe Ransom and a group of colleagues in the American South of the 1930s established a vanguard approach to literary criticism they called the “New Criticism.” By the 1940s, New Critical methods had become the dominant pedagogy in departments of English at colleges and universities across America, enjoying disciplinary hegemony until the late 1960s, when an influx of new theoretical work in literary studies left the New Criticism in shadow. Inspired by a range of new commentary reconsidering the New Criticism (from critics including Jane Gallop, Terry Eagleton, Charles Altieri, and Camille Paglia), the essays in Rereading the New Criticism reevaluate the New Critical corpus, trace its legacy, and explore resources it might offer for the future of theory, criticism, and pedagogy. Addressing the work of New Critics such as Ransom, Cleanth Brooks, and Robert Penn Warren, as well as important forerunners of the New Critics such as I. A. Richards and William Empson, these ten essays shed new light on the genesis of the New Criticism and its significant contributions to the development of academic literary studies in North America; revisit its chief arguments and methods; interrogate received ideas about the movement; and consider how its theories and techniques might inform new methodologies for literary and cultural studies in the twenty-first century.
Latin American intellectual history is largely founded on essayistic writing. Women's essays have always formed a part of this rich tradition, yet they have seldom received the respect they merit and are often omitted entirely from anthologies.
This volume and its earlier companion, Reinterpreting the Spanish American Essay: Women Writers of the 19th and 20th Centuries, seek to remedy that neglect. This book collects thirty-six notable essays by twenty-two women writers, including Flora Tristan, Gertrudis Gómez de Avellaneda, Clorinda Matto de Turner, Victoria Ocampo, Alfonsina Storni, Rosario Ferré, Christina Peri Rossi, and Elena Poniatowska. All of the essays are here translated into English for the first time, many by the same scholars who wrote critical studies of the authors in the first volume. Each author's work is also prefaced by a brief biographical sketch.
Valuable and timely in its long historical and critical perspective on the legacy of romanticism to Victorian art and thought, The Rescue of Romanticism is the first book-length study of the close intellectual relationship between Walter Pater and John Ruskin, the two most important Victorian critics of art. Kenneth Daley explores the work and thought of both writers in context with other Victorian writers, and enlarges the issues at stake between them, connecting these issues to ongoing artistic, cultural, and political concerns of the modern world.
Professor Daley gives a more finely honed picture than ever before of romanticism’s emergence as a literary concept in Victorian England, detailing the political differences that characterize the opposition between John Ruskin and his younger contemporary, Walter Pater, over the nature of romanticism. Individual chapters reassess the Victorian reception of such romantic figures as Wordsworth, Dante Gabriel Rossetti, Leonardo, and Michelangelo.
Daley demonstrates how Pater’s “modern” reading of romanticism emerged from Ruskin’s distrust of romanticism and from Ruskin’s arguments and examples defining pathetic fallacy. His discussion of Ruskin’s Oxford lectures and their timing in Pater’s developing career refresh the intersections of the two bodies of work and the portrait of the Victorian period in general.
Exploring works ranging in popularity, from Alfonso Cuarón’s Y Tu Mamá También to the paintings of Peruvian artists Claudia Coca and Jorge Miyagui, and from Mexican Zapatistas to hip-hop, Ouweneel details the ways in which artists interact with the embodied memory of the community but also assert their own place within it as crucial, furthering their audiences’ understanding of and interaction with existing cultural schemas. In this way, Ouweneel shows that memories must serve the present or they will be forgotten.
Many of these stories are in some way lessons in resistance and survival in a world where “the toughest kid on the block,” often an outsider, demands that a group of children “play or pay,” on his terms. González demonstrates that where traditional strategies have proposed the model of the “trickster” or the “paradoxically astute fool,” to mock the pretensions of the would-be oppressor, new trends indicate that the region’s children—and those who write for them—show increasing interest in playing the game on their own terms, getting to know the Other, embracing difference, and redefining their identity and role within the new global culture.
Resistance and Survival emphasizes the hope underlying this contemporary children’s literature for a world in which all voices can be heard and valued—the hope of an authentic happy ending.
But the resistance to poetry is quite specifically the wonder of poetry. Considering a wide array of poets, from Virgil and Milton to Dickinson and Glück, Longenbach suggests that poems convey knowledge only inasmuch as they refuse to be vehicles for the efficient transmission of knowledge. In fact, this self-resistance is the source of the reader's pleasure: we read poetry not to escape difficulty but to embrace it.
An astute writer and critic of poems, Longenbach makes his case through a sustained engagement with the language of poetry. Each chapter brings a fresh perspective to a crucial aspect of poetry (line, syntax, figurative language, voice, disjunction) and shows that the power of poetry depends less on meaning than on the way in which it means—on the temporal process we negotiate in the act of reading or writing a poem. Readers and writers who embrace that process, Longenbach asserts, inevitably recoil from the exaggeration of the cultural power of poetry in full awareness that to inflate a poem's claim on our attention is to weaken it.
A graceful and skilled study, The Resistance to Poetry honors poetry by allowing it to be what it is. This book arrives at a critical moment—at a time when many people are trying to mold and market poetry into something it is not.
Explores reasons why the theoretical enterprise is blind to, or “resists,” the radical nature of reading, in six essays that offer a new level of critical and cultural understanding in reference to the works of Jauss, Riffaterre, Benjamin, and Bakhtin.
In a brilliant collection of essays, de Man explores his views, that, the resistance to theory is inherent in the theoretical enterprise itself, and the real debate is with its own methodological assumptions and possibilities.
“Indispensable. . . . There is resistance to ‘theory’ and also confusion about its status with reference to both philosophy and criticism.” -Frank Kermode, Columbia University
A bold new critique of dialogue as a method of eliminating dissent
Is dialogue always the productive political and communicative tool it is widely conceived to be? Resisting Dialogue reassesses our assumptions about dialogue and, in so doing, about what a politically healthy society should look like. Juan Meneses argues that, far from an unalloyed good, dialogue often serves as a subtle tool of domination, perpetuating the underlying inequalities it is intended to address.
Meneses investigates how “illusory dialogue” (a particular dialogic encounter designed to secure consensus) is employed as an instrument that forestalls—instead of fostering—articulations of dissent that lead to political change. He does so through close readings of novels from the English-speaking world written in the past hundred years—from E. M. Forster’s A Passage to India and Jeanette Winterson’s The Passion to Indra Sinha’s Animal’s People and more. Resisting Dialogue demonstrates how these novels are rhetorical exercises with real political clout capable of restoring the radical potential of dialogue in today’s globalized world. Expanding the boundaries of postpolitical theory, Meneses reveals how these works offer ways to practice disagreement against this regulatory use of dialogue and expose the pitfalls of certain other dialogic interventions in relation to some of the most prominent questions of modern history: cosmopolitanism at the end of empire, the dangers of rewriting the historical record, the affective dimension of neoliberalism, the racial and nationalist underpinnings of the “war on terror,” and the visibility of environmental violence in the Anthropocene.
Ultimately, Resisting Dialogue is a complex, provocative critique that, melding political and literary theory, reveals how fiction can help confront the deployment of dialogue to preempt the emergence of dissent and, thus, revitalize the practice of emancipatory politics.
When James Lane Allen defined the “Feminine Principle” and the “Masculine Principle” in American fiction for the Atlantic Monthly in 1897, he in effect described local color fiction and naturalism, two branches of realism often regarded as bearing little relationship to each other. In this award-winning study of both movements, Resisting Regionalism explores the effect the cultural dominance of women’s local color fiction in the 1890’s had on young male naturalist writers, who rebelled against the local colorists and their “teacup tragedies.”
An immensely popular genre, local color fiction reached its peak in the 1880s in such literary journals as Harper’s Monthly, Scribner’s, the Atlantic Monthly, and the Century. These short stories exhibited local “characters,” depicted marginal groups and vanishing folkways, and addressed issues of absence, loss, limitation, and the past. Despite such prickly themes, according to Donna Campbell, local color fiction “fulfilled some specific needs of the public – for nostalgia, for a retreat into mildly exotic locales, for a semblance of order preserved in ritual.”
By the turn of the century, however, local color fiction was fading from the scene, supplanted by writers of adventure fiction and historical romances, with whom local colorists increasingly merged, and opposed by the naturalists. In examining this historic shift, Resisting Regionalism shows that far from being distanced from local color fiction, nationalism emerged in part as a dissenting response to its popularity and to the era’s concerns about the dominance of feminine influence in American literature. The new generation of authors, including Crane, Norris, London, Frederic, Wharton, resisted the cultural myths and narrative strategies common to local colorists Sarah Orne Jewett, Rose Terry Cooke, Mary E. Wilkins Freeman, and Constance Fenimore Woolson. Yet, as Campbell underscores in her analysis of Stephan Crane’s The Monster, the naturalists could, and did, integrate local color conventions with the grotesque and horrifying to powerful effect.
In clear, accessible prose, Resisting Regionalism provides fresh readings of naturalistic works in the context of the dispute between local color and naturalism. In the process, this book shows the debt naturalism owes to local color fiction and illuminates a neglected but significant literary era.
Shillingsburg argues that as humans we are and always will be interested in the past, in what was meant, in what was revealed inadvertently by a text--and that is all to the good. But we learn more and can compare notes better when we understand the principles that govern the ways we read. Resisting Texts approaches crucial questions about the practice of textual editing and literary criticism by posing questions in the form "If we take such and such to be the goal of our reading, then what will follow from that assumption?"
With humor and a lively imagination, Shillingsburg takes the reader on a fresh theoretical investigation of communication, understanding and misunderstanding, and textual satisfactions, drawing examples from Thackeray, Wordsworth, Melville, and others.
Resisting Texts will appeal to all who enjoy the varieties of critical approaches to the written word.
Peter L. Shillingsburg is Professor of English, University of North Texas.
Studying a period of German literary history that has been largely ignored by modern readers, Ruth-Ellen Boetcher Joeres demonstrates that these writings offer intriguing opportunities to examine such critical topics as canon formation; the relationship between gender, class, and popular culture; and women, professionalism, and technology. The writers she explores range from Annette von Droste-Hülshoff, who managed to work her way into the German canon, to the popular serial novelist E. Marlitt, from liberal writers such as Louise Otto and Fanny Lewald, to the virtually unknown novelist and journalist Claire von Glümer. Through this investigation, Boetcher Joeres finds ambiguities, compromises, and subversions in these texts that offer an extensive and informative look at the exciting and transformative epoch that so much shaped our own.
Claire Brewster has mined direct quotations from a host of publications to illustrate the techniques that they used in combating government and editorial restraints. Brewster first addresses the Student Movement of 1968—the violent suppression of which was a watershed in the relationship between the Mexican government and people—and illustrates the ways in which the student crisis affected the writers’ relationships with presidents Luis Echeverría Alvarez and José López Portillo. She next considers the profound social and political repercussions of the 1985 earthquake as described by Poniatowska and Monsiváis and the consequent emergence of Mexican civil society. She then outlines Paz’s and Monsiváis’s vociferous responses to the 1988 presidential election campaigns and their highly contentious result, and lastly she examines the Chiapas rebellion from January to July 1994.
The eloquent Zapatista spokesman, Subcomandante Marcos, challenged Mexican writers to a duel of words, and Brewster analyzes the ways in which the four writers took up the gauntlet—and in so doing reveals the development of their political thoughts and their relationships with the Mexican people and the federal government. The work of these four authors charts an important historical era, and a close examination of their essays reveals their maturation as writers and provides an understanding of the development of Mexican society. By bringing their opinions and attitudes to light, Brewster unearths a rich lode of insight into the inner workings of Mexican intellectuals and invites observers of contemporary Mexico to reconsider their role in reflecting social change.
While the Diné (those from the four sacred mountains in Dinétah in the southwestern United States) are not now politically and economically cohesive with the Dene (who are in Denendeh in Canada), they are ancestral and linguistic relatives. In this book, Watchman turns to literary and visual texts to explore how relations are restored through stories, showing how literary linkages from land-based stories affirm Diné and Dene kinship. She explores the power of story to forge ancestral and kinship ties between the Diné and Dene across time and space through re-storying of relations.
*A complex Diné worldview and philosophy that cannot be defined with one word in the English language. Hózhǫ́ means to continually strive for harmony, beauty, balance, peace, and happiness, but most importantly the Diné have a right to it.
The angry emotions, and the problems they presented, were an ancient Greek preoccupation from Homer to late antiquity. From the first lines of the Iliad to the church fathers of the fourth century A.D., the control or elimination of rage was an obsessive concern. From the Greek world it passed to the Romans.
Drawing on a wide range of ancient texts, and on recent work in anthropology and psychology, Restraining Rage explains the rise and persistence of this concern. W. V. Harris shows that the discourse of anger-control was of crucial importance in several different spheres, in politics--both republican and monarchical--in the family, and in the slave economy. He suggests that it played a special role in maintaining male domination over women. He explores the working out of these themes in Attic tragedy, in the great Greek historians, in Aristotle and the Hellenistic philosophers, and in many other kinds of texts.
From the time of Plato onward, educated Greeks developed a strong conscious interest in their own psychic health. Emotional control was part of this. Harris offers a new theory to explain this interest, and a history of the anger-therapy that derived from it. He ends by suggesting some contemporary lessons that can be drawn from the Greek and Roman experience.
Resurrection: Comics in Post-Soviet Russia traces the “kopecks to rubles” journey of Russian comics at the turn of the century. As the follow-up to José Alaniz’s groundbreaking Komiks: Comic Art in Russia (2010), Resurrection authoritatively and exhaustively details the Russian comic landscape of the last three decades: beginning after the 1991 fall of the Soviet Union and encompassing the fourth Putin administration, the COVID-19 crisis, and beyond. Bolstering his analysis with interviews with some of the major figures in Russia’s comics industry, Alaniz particularly focuses on the representation of masculinity, disability, historical trauma, and superheroes, as well as on the recent rise of fandom, alternative micropresses, and nonfiction graphic narrative. Resurrection is a sweeping discussion of the metamorphosis of contemporary Russian comic art from its rebirth to its entry into mainstream culture.
In a fascinating analysis of critical themes in Feodor Dostoevsky’s work, René Girard explores the implications of the Russian author’s “underground,” a site of isolation, alienation, and resentment. Brilliantly translated, this book is a testament to Girard’s remarkable engagement with Dostoevsky’s work, through which he discusses numerous aspects of the human condition, including desire, which Girard argues is “triangular” or “mimetic”—copied from models or mediators whose objects of desire become our own. Girard’s interdisciplinary approach allows him to shed new light on religion, spirituality, and redemption in Dostoevsky’s writing, culminating in a revelatory discussion of the author’s spiritual understanding and personal integration. Resurrection is an essential and thought-provoking companion to Dostoevsky’s Notes from the Underground.
In this highly readable and thoroughly original book, Karl Kroeber questions the assumptions about storytelling we have inherited from the exponents of modernism and postmodernism. These assumptions have led to overly formalistic and universalizing conceptions of narrative that mystify the social functions of storytelling. Even "politically correct" critics have Eurocentrically defined story as too "primitive" to be taken seriously as art. Kroeber reminds us that the fundamental value of storytelling lies in retelling, this paradoxical remaking anew that constitutes story's role as one of the essential modes of discourse. His work develops some recent anthropological and feminist criticism to delineate the participative function of audience in narrative performances.
In depicting how audiences contribute to storytelling transactions, Kroeber carries us into a surprising array of examples, ranging from a Mesopotamian sculpture to Derek Walcott's Omeros; startling juxtapositions, such as Cervantes to Vermeer; and innovative readings of familiar novels and paintings. Tom Wolfe's comparison of his Bonfire of the Vanities to Vanity Fair is critically analyzed, as are the differences between Thackeray's novel and Joyce's Ulysses and Flaubert's Madame Bovary. Other discussions focus on traditional Native American stories, Henry James's The Ambassadors, Calvino's If on a winter's night a traveler, and narrative paintings of Giotto, Holman Hunt, and Roy Lichtenstein. Kroeber deploys the ideas of Ricoeur and Bakhtin to reassess dramatically the field of narrative theory, demonstrating why contemporary narratologists overrate plot and undervalue story's capacity to give meaning to the contingencies of real experience. Retelling/Rereading provides solid theoretical grounding for a new understanding of storytelling's strange role in twentieth-century art and of our need to develop a truly multicultural narrative criticism.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
In Rethinking Community from Peru, Irina Alexandra Feldman examines the deep political connotations and current relevance of Arguedas’s fiction to the Andean region. Looking principally to his most ambitious and controversial work, All the Bloods, Feldman analyzes Arguedas’s conceptions of community, political subjectivity, sovereignty, juridical norm, popular actions, and revolutionary change. She deconstructs his particular use of language, a mix of Quechua and Spanish, as a vehicle to express the political dualities in the Andes. As Feldman shows, Arguedas’s characters become ideological speakers and the narrator’s voice is often absent, allowing for multiple viewpoints and a powerful realism. Feldman examines Arguedas’s other novels to augment her theorizations, and grounds her analysis in a dialogue with political philosophers Walter Benjamin, Jean-Luc Nancy, Carl Schmitt, Jacques Derrida, Ernesto Laclau, and Álvaro García-Linera, among others.
In the current political climate, Feldman views the promise of Arguedas’s vision in light of Evo Morales’s election and the Bolivian plurality project recognizing indigenous autonomy. She juxtaposes the Bolivian situation with that of Peru, where comparatively limited progress has been made towards constitutional recognition of the indigenous groups. As Feldman demonstrates, the prophetic relevance of Arguedas’s constructs lie in their recognition of the sovereignty of all ethnic groups and their coexistence in the modern democratic nation-state, in a system of heterogeneity through autonomy—not homogeneity through suppression. Tragically for Arguedas, it was a philosophy he could not reconcile with the politics of his day, or from his position within Peruvian society.
Using his own fieldwork as a starting point, Alf Hiltebeitel analyzes how the oral tradition of the south Indian cult of the goddess Draupadi and five regional martial oral epics compare with one another and tie in with the Sanskrit epics. Drawing on literary theory and cultural studies, he reveals the shared subtexts of the Draupadi cult Mahabharata and the five oral epics, and shows how the traditional plots are twisted and classical characters reshaped to reflect local history and religion. In doing so, Hiltebeitel sheds new light on the intertwining oral traditions of medieval Rajput military culture, Dalits ("former Untouchables"), and Muslims.
Breathtaking in scope, this work is indispensable for those seeking a deeper understanding of South Asia's Hindu and Muslim traditions.
This work is the third volume in Hiltebeitel's study of the Draupadi cult. Other volumes include Mythologies: From Gingee to Kuruksetra (Volume One), On Hindu Ritual and the Goddess (Volume Two), and Rethinking the Mahabharata (Volume Four).
The book engages in a sustained argument about realist assumptions in scientific and other discourses through detailed analysis and discussion of some of the most important recent contributions to this debate. Engaging sympathetically but not uncritically with constructivist accounts of scientific knowledge, the book takes up a sustained critique of recent contributions to that debate, including those of Ian Hacking, Evelyn Fox Keller, Bruno Latour, and Hans-Jörg Rheinberger. What are the implications of regarding such knowledge as "discovered" or "invented"? How is the rhetoric of such claims to be identified and the pretentions of those claims assessed?In what ways can realist and constructivist approaches be reconciled? How do these considerations affect the way we read scientific texts from the past and regard them historically?
What emerges is a fresh and challenging assessment of the role of time and temporal perspective in assessing claims to knowledge in scientific thought and of the importance of textuality to the history of knowledge. A wide variety of readers, from classicists and intellectual historians to epistemologists of science, will enjoy and learn from Rethinking Reality.
Duncan Kennedy is Reader in Latin Literature and the Theory of Criticism, University of Bristol. He is also the author of The Arts of Love: Five Studies in the Discourse of Roman Love Elegy.
To address this phenomenon, the book reformulates existing definitions of literary omniscience, shifting attention away from questions of narratorial knowledge and toward omniscient narration as a rhetorical performance of narrative authority that invokes and projects a historically specific figure of authorship. Through a study of fiction by authors such as Zadie Smith, Jonathan Franzen, Richard Powers, Martin Amis, Rick Moody, Edward P. Jones, and Nicola Barker, the book analyzes how the conventional narrative authority of omniscient narrators is parlayed into claims for the cultural authority of authors and of the novel itself.
In the course of its investigation, The Return of the Omniscient Narrator engages with major movements in narrative theory—rhetorical, cognitive, and feminist—to challenge and reconsider many key narratological categories, including Free Indirect Discourse, the relation between voice and focalization, and the narrative communication model. This challenge is framed by an argument for a discursive approach to narrative fiction that addresses the neglect of authorship in narrative theory.
In the glory days of high modernist formalism it was anathema to speak about the content of a work of art. Those days are gone, and critical practice now is largely thematic practice. A focus on the themes of literature informs feminist, new historicist, ethnic, and even second-generation deconstructionist approaches. However, such practice is not always recognized. The specter of theoretically impoverished positivism still haunts thematic analysis, making it the approach to literature that dare not speak its name. This volume brings together for the first time an international group of writers, critics, and theoreticians who have thought deeply about this issue.
How can we determine the theme of a given text? May the focus on form be the theme of a certain moment? Can the motif be understood as a formal category? What operations permit us to say that three or four texts constitute variants of the same theme? The contributors challenge the conventional dismissal of “merely” thematic approaches and offer the reader different ways of tackling the issue of what a piece of writing is “about.”
The work here comes out of such diverse intellectual traditions as Russian film theory, French phenomenology, Foucault, narratology, the Frankfurt School, intellectual history (Geistesgeschichte), psychoanalytic criticism, linguistics, ideological criticism, Proppian folklore studies, and computerized plot summary models. In addition to a collection of aphorisms from Plato to Robert Coover and a group of general and theoretical essays, this volume contains examples of practical engagement with such topics as literary history, Shakespeare, autumn poetry, anti-Semitism, fading colors, bachelors, Richard Wagner, and the Mexican Revolution. No comparable volume exists.
Thiam contends that Senghor’s conception of race entails an innovative Afri-centered epistemology and ontology. For Senghor, races are the effects of particular groups’ relations to the world. The so-called “Negroes,” for example, are determined by their epistemology based on their fluid understanding of the ontological manifestations of being. The examination of this ontology and its ensuing epistemology, which is constitutive of the foundation of Senghor’s entire oeuvre, indicates that Negritude is a postcolonial philosophy that stands on its own.
The hermeneutics of Senghor’s race theory show that the Senegalese thinker’s pioneering postcolonial philosophy remains relevant in the postcolonial era. In fact, it questions and expands the works of major contemporary African-descended scholars such as Paul Gilroy, Edouard Glissant, and Molefi Asante. Thiam’s approach is thoroughly interdisciplinary, combining perspectives from philosophy, literary analysis, anthropology, and postcolonial, African, and cultural studies.
Revealing Rebellion in Abiayala explores the intersections between Indigenous literature and social movements over the past thirty years through the lens of insurgent poetics. Author Hannah Burdette is interested in how Indigenous literature and social movements are intertwined and why these phenomena arise almost simultaneously in disparate contexts across the Americas.
Literature constitutes a key weapon in political struggles as it provides a means to render subjugated knowledge visible and to envision alternatives to modernity and coloniality. The surge in Indigenous literature and social movements is arguably one of the most significant occurrences of the twenty-first century, and yet it remains understudied. Revealing Rebellion in Abiayala bridges that gap by using the concept of Abiayala as a powerful starting point for rethinking inter-American studies through the lens of Indigenous sovereignty.
In The Revelation of Imagination, William Franke attempts to focus on what is enduring and perennial rather than on what is accommodated to the agenda of the moment. Franke’s book offers re-actualized readings of representative texts from the Bible, Homer, and Virgil to Augustine and Dante. The selections are linked together in such a way as to propose a general interpretation of knowledge. They emphasize, moreover, a way of articulating the connection of humanities knowledge with what may, in various senses, be called divine revelation. This includes the sort of inspiration to which poets since Homer have typically laid claim, as well as that proper to the biblical tradition of revealed religion. The Revelation of Imagination invigorates the ongoing discussion about the value of humanities as a source of enduring knowledge.
---Louis Sass, author of Madness and Modernism
"The scope of this book is daunting, ranging from madness in the ancient Greco-Roman world, to Christianized concepts of medieval folly, through the writings of early modern authors such as Shakespeare, Cervantes, and Descartes, and on to German Romantic philosophy, fin de siècle French poetry, and Freud . . . Artaud, Duras, and Plath."
---Isis
"This provocative and closely argued work will reward many readers."
---Choice
In Revels in Madness, Allen Thiher surveys a remarkable range of writers as he shows how conceptions of madness in literature have reflected the cultural assumptions of their era. Thiher underscores the transition from classical to modern theories of madness-a transition that began at the end of the Enlightenment and culminates in recent women's writing that challenges the postmodern understanding of madness as a fall from language or as a dysfunction of culture.
Reverend Bailey's persistence in praying for the king and his refusal to publicize the Declaration of Independence from his Pownalborough pulpit aroused hostilities that drove him and his family to the safety of Nova Scotia. There, in exile, Bailey devoted himself to assisting fellow refugees while defending himself from others. During this time, he wrote almost obsessively: poems, dramas, novels, histories. Though few were ever completed, and even fewer published, in one way or another most of his writings depicted the trauma he underwent as a loyalist.
Leamon's study of the Reverend Jacob Bailey depicts the complex nature and burdens of one person's loyalism while revealing much about eighteenth-century American life and culture.
Twain adopted such religious personae to burlesque the religious literary genres associated with those vocations. He wrote catechisms, prophecies, psalms, and creeds, all in the theological tradition, but with a comic twist. Twain even wrote a burlesque life of Christ that has the son of God sporting blue jeans and cowboy boots. With his distinctive comic genius, Twain entered the religious dialogue of his time, employing the genres of belief as his vehicle for criticizing church and society.
Twain’s burlesques of religious form and content reveal a writer fully engaged with the religious ferment of his day. Works like The Innocents Abroad, Adventures of Huckleberry Finn, Personal Recollections of Joan of Arc, Roughing It, and What Is Man? are the productions of a writer skilled at adopting and adapting established literary and religious forms for his own purposes. Twain is sometimes viewed as a haphazard writer, but in The Reverend Mark Twain, Fulton demonstrates how carefully Twain studied established literary and theological genres to entertain—and criticize—his society.
Traditionally united by une foi, une loi, un roi (one faith, one law, one king), France under Henri IV was cleaved into warring factions of Catholics and Huguenots. The country suffered episodes of bloodshed such as the St. Bartholomew’s Day Massacre, even as attempts were made to attenuate the violence through frequent edicts, including those of St. Germain (1570) and Nantes (1598). Maynard examines the rich and often dismissed body work written during these bloody decades: Pierre de Ronsard’s Franciade, Guillaume Salluste Du Bartas’s La Judit and La Sepmaine, Sébastian Garnier’s La Henriade, Agrippa d’Aubigné’s Les Tragiques, and others. She traces how French poets, taking classics such as Virgil’s Aeneid and Homer’s Iliad as their models, reimagined possibilities for French reconciliation and unity.
Higgins shows that this reverse colonization stance depends upon a science fictional logic that achieved dominance within imperial fantasy during the 1960s and has continued to gain momentum ever since. By identifying with fantastic forms of victimhood, subjects who already enjoy social hegemony are able to justify economic inequality, expansions of police and military power, climatological devastation, new articulations of racism, and countless other forms of violence—all purportedly in the name of security, self-defense, and self-protection.
Reverse Tradition invites the reader of postmodern fiction to travel back to the nineteenth-century novel without pretending to let go of contemporary anxieties and expectations. What happens to the reader of Beckett when he or she returns to Melville? Or to the enthusiast of Toni Morrison who rereads Charlotte Bronte? While Robert Kiely does not claim that all fictions begin to look alike, he finds unexpected and illuminating pleasures in examining a variety of ways in which new texts reflect on old.
In this engaging book, Kiely not only juxtaposes familiar authors in unfamiliar ways; he proposes a countertradition of intertextuality and a way to release the genie of postmodernism from the bottleneck of the late twentieth century. Placing the reader’s response at the crux, he offers arresting new readings by pairing, among others, Jorge Luis Borges with Mark Twain, and Maxine Hong Kingston with George Eliot. In the process, he tests and challenges common assumptions about transparency in nineteenth-century realism and a historical opacity in early and late postmodernism.
Every line of Shakespeare has been commented upon, revised, or deleted and reinstated many times over. His greatest contemporary, Ben Jonson, remarked that Shakespeare should have “blotted a thousand” lines himself; his greatest editor, Samuel Johnson, surveying the inability of previous editors to refrain from improving what they could not understand, attempted to restore Shakespeare's works “to their integrity.”
In Revising Shakespeare Grace Ioppolo addresses the question of Shakespeare's “integrity.” Through patient analysis of variant texts spanning the history of the plays, she arrives at a fresh interpretation of Shakespeare as author and reviser. Ioppolo starts where all of us—critics, teachers, textual scholars, and general readers—must start, with the physical text. As recent textual studies of King Lear have shown, the text of Shakespeare is not a given. The “text” is nearly always a revision of another text. Critics can no longer evaluate plots, structure, and themes, nor can scholars debate what constitutes (or how to establish) a copy-text that stands as the “most authoritative” version of a Shakespeare play, without reconsidering the implications of revision for traditional and modern interpretations.
Ioppolo examines the evidence provided by dramatic manuscripts and early printed texts of Shakespeare and his contemporaries. Gradually we see how a recognition of the diverse facts regarding authorial revision leads to basic changes in how we study, edit, and teach Shakespeare. Ioppolo places the textual revolution in a broad historical, theatrical, textual, and literary context, presenting textual studies that show Shakespeare and other Elizabethan and Jacobean dramatists at work revising themselves, their plays, and their audiences. She concludes that both textual and literary critics must now reevaluate and redefine the idea of the “text” as well as that of the “author”; the “text” is no longer editorially or theoretically composite or finite, but multiple and ever-revising. Perhaps most important, Ioppolo produces a new conception of Shakespeare as a creator and recreator, viewer and reviewer, writer and rewriter of his dramatic world.
Three powerful interviews with writers of different nationalities (Audre Lorde, Simone de Beauvoir, and Carmen Naranjo) introduce topics echoed in the essays that follow: the interplay between women's writing and feminist theory, the politics of writing, and the roles of race, class, and sexual orientation in artistic production. These issues are engaged on a theoretical level by three essays that represent today's most prominent areas of concern for feminist literary criticism. The theoretical perspectives advanced in this anthology provide models for reading the traditional expressions of women worldwide including oratory and performance as well as literature in the more conventional sense.
Contributors include Jane Flax on "Postmodernism and Gender Relations in Feminist Theory," Evelyn Brooks Higginbotham on "African-American Women's History and the Metalanguage of Race," Paula Bennett on "Female Sexual Imagery and Feminist Psychoanalytic Theory," Leslie Rabine on "Social Gender and Symbolic Gender in the Writings of Maxine Hong Kingston," Joyce Zonana on "Feminist Orientalism and the Structure of Jane Eyre," Jane Desmond on "Cultural Imperialism and Ruth St. Denis's 'Radha' of 1906," Terri Brint Joseph on "Poetry as a Strategy of Power: The Case of Riffian Berber Women," Chikwenye Ogunyemi on "The Contemporary Black Female Novel in English," and Sandra Zagarell on "Narrative of Community."
This collection is especially appropriate for scholars and students of feminist literary criticism, women's studies, English, and ethnic studies.
Essays were originally published in Signs: Journal of Women in Culture and Society.
Originally published as a special issue of boundary 2, the essays gathered here discuss writers as diverse as Kate Chopin, Frederick Douglass, Emerson, Melville, W. D. Howells, Henry James, W. E. B. DuBois, and Mark Twain, plus the historical figure John Brown. Two major sections devoted to the theory of romance and to cultural-historical analyses emphasize the political perspective of "New Americanist" literary and cultural study.
Contributors. William E. Cain, Wai-chee Dimock, Howard Horwitz, Gregory S. Jay, Steven Mailloux, John McWilliams, Susan Mizruchi, Donald E. Pease, Ivy Schweitzer, Priscilla Wald, Michael Warner, Robert Weimann
Revisiting Racialized Voice:African American Ethos in Language and Literature argues that past misconceptions about black identity and voice, codified from the 1870s through the 1920s, inform contemporary assumptions about African American authorship and ethos. Tracing elements of racial consciousness in the works of Frederick Douglass, Charles Chesnutt, W. E. B. DuBois, Zora Neale Hurston, and others, David G. Holmes urges a revisiting of narratives from this period to strengthen and advance notions about racialized writing and to shape contemporary composition pedagogies.
Pointing to the intersection of African American identity, literature, and rhetoric, Revisiting Racialized Voice begins to construct rhetorically workable yet ideologically flexible definitions of black voice. Holmes maintains that political pressure to embrace“color blindness” endangers scholars’ ability to uncover links between racialized discourses of the past and those of the present, and he calls instead for a reassessment of the material realities and theoretical assumptions race represents and with which it has been associated.
The Revival of Metaphysical Poetry was first published in 1959. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The metaphysical style, as expressed in its most distinguished and distinguishable form by the seventeenth-century poet John Donne, has had an increasing influence on latterday critics and poets. Thus it is important to an understanding of literary history to examine this revival. Professor Duncan traces the movement and analyzes changing interpretations of the style in the work of British and American poets and critics. He shows that much of the "new criticism" and the metaphysical poetry of T. S. Eliot and that of the metaphysical style has thrived on fresh critical interpretation and vital poetic experimentation.
Schiff revises readings of alliterative poetry as Francophobic, exploring the transnational imperialist elitism in the translation William of Palerne. He contributes to the discussion of gender in Sir Gawain and the Green Knight by linking the poem’s powerful female players with anxieties about women’s control of wealth and property in militarized regions of England. The book also explores the emphatically pre-national, borderlands sensibilities informing the Awntyrs off Arthure and Golagros and Gawane, and it examines the exploitation of collaborative composition in the material legacy of the Piers Plowman tradition.
Revivalist Fantasy concludes that Revivalist nationalism obscures crucial continuities between late-medieval and post-national worlds and that critics’ interests should be channeled into the forging of connections between past and present rather than suspended in the scholarly pursuit of origins. The book will be of interest to scholars of editorial history and translation studies and to those interested in manuscript studies.
Milton’s Great Poems—Paradise Lost, Paradise Regained, and Samson Agonistes—are here examined in the light of his lifelong commitment to the English revolutionary cause. The poems, Joan Bennett shows, reflect the issues Milton had dealt with in theological and public policy debate, foreign diplomacy, and propaganda; moreover, they work innovatively with these issues, reaching in epic and tragedy answers that his pamphlets and tracts of the past twenty years had only partially achieved. The central issue is the nature and possibility of human freedom, or “Christian liberty.” Related questions are the nature of human rationality, the meaning of law, of history, of individuality, of society, and—everywhere—the problem of evil.
The book offers a revisionist position in the history of ideas, arguing that Renaissance Christian humanism in England descended not from Tudor to Stuart Anglicanism but from Tudor Anglicanism to revolutionary Puritanism. Close readings are offered of texts by Richard Hooker, Milton, and a range of writers before and during the revolutionary period. Not only theological and political positions but also political actions taken by the authors are compared. Milton's poems are studied in the light of these analyses.
The concept of “radical Christian humanism” moves current Milton criticism beyond the competing conceptions of Milton as the poet of democratic liberalism and the prophet of revolutionary absolutism. Milton's radical Christian humanism was built upon pre-modern conceptions and experiences of reason that are not alien to our time. It stemmed from, and resulted in, a religious commitment to political process which his poems embody and illuminate.
Since the middle of the seventeenth century, the powerful Massachusetts Bay Colony had exercised an increasing hegemony over the settlements downeast--a hegemony legalized in the Massachusetts royal charter of 1691. From then until 1820, when it became a state, Maine remained an integral part of Massachusetts. Geographically isolated from the Bay Colony by the province of New Hampshire, and dependent on Massachusetts for its very existence, Maine was indeed a colony, in every sense of the word.
The larger Massachusetts context has tended to obscure Maine as a legitimate object of study, nowhere more than in the period of the American Revolution. Even historians in Maine have slighted the period of the American Revolution. Where appropriate, town historians devote a chapter or so to the event, but only in the context of a particular community.
In his book, Leamon aims to meet that deficiency by drawing together town and general histories, specialized studies, and primary sources, both published and unpublished. He examines why and how Maine fought the Revolution and the changes that occurred in Maine during and after the war.
Moi first introduces Wittgenstein’s vision of language and theory, which refuses to reduce language to a matter of naming or representation, considers theory’s desire for generality doomed to failure, and brings out the philosophical power of the particular case. Contrasting ordinary language philosophy with dominant strands of Saussurean and post-Saussurean thought, she highlights the former’s originality, critical power, and potential for creative use. Finally, she challenges the belief that good critics always read below the surface, proposing instead an innovative view of texts as expression and action, and of reading as an act of acknowledgment. Intervening in cutting-edge debates while bringing Wittgenstein, Austin, and Cavell to new readers, Revolution of the Ordinary will appeal beyond literary studies to anyone looking for a philosophically serious account of why words matter.
During China’s transition from dynastic empire to nation-state, the crowd emerged as a salient trope. Intellectuals across the ideological spectrum have used the crowd trope to ruminate on questions of selfhood and nationhood, and to advance competing models of enlightenment and revolution.
Revolutionary Waves analyzes the centrality of the crowd in the Chinese cultural and political imagination and its global resonances by delving into a wide range of fiction, philosophy, poetry, and psychological studies. Bringing together literary studies, intellectual history, critical theory, and the history of human sciences, this interdisciplinary work highlights unexplored interactions among emerging social-scientific forms of knowledge, new aesthetic modes of representation, and changing political imperatives. The work brings into relief the complexities of the modern Chinese crowd discourse, which generated subjectivities and oriented actions, enabled as well as constrained the expression of togetherness, and thus both expanded and limited the horizon of political possibilities in the emerging age of mass politics.
The first in-depth examination of the aesthetics and politics of the crowd in modern Chinese literature and thought, Revolutionary Waves raises questions about the promise and peril of community as communion and reimagines collective life in China’s post-socialist present.
How modernist interartistic experimentation and the proliferation of new media technologies inspired fresh insights into poetry
Isobel Palmer spotlights Russian modernist poets’ and formalist theorists’ conscious engagement with formal convention, showing how their efforts were tied up with broader attempts in the early Soviet era to understand and articulate the nature of poetry and its most characteristic devices. Returning to critical debates around poetic encounters with three key aesthetic categories—rhythm, image, and voice—Palmer unpacks the period’s deeper interest in the material bases of poetic speech itself. Through fresh, incisive readings of canonical poets and theorists, from Andrei Bely and Vladimir Mayakovsky to Yury Tynianov and Viktor Shklovsky, Revolutions in Verse: The Medium of Russian Modernism explores the proliferation of interartistic experiments and the emergence of new media technologies that made poetry visible as a medium in its own right.
John Muthyala's Reworlding America moves beyond the U.S.-centered approach of traditional American literary criticism. In this groundbreaking book, Muthyala argues for a transgeographical perspective from which to study the literary and cultural histories of the Americas.
By emphasizing transnational migration, border crossing, and colonial modernity, Reworlding America exposes how national, ethnic, linguistic, religious, and cultural boundaries have been continually created and transgressed—with profound consequences for the peoples of the Americas.
Drawing from cultural studies, anthropology, literature, and history, Muthyala examines the literatures of the Americas in terms of their intimate relationship to questions of cultural survival, identity formation, and social power. He goes beyond nationalist, ethnocentric, and religious frameworks used to conceptualize American literary history and examines the connection between modernity and colonialism.
Reworlding America's significance extends into the realm of education, history, ethnography, and literary and cultural studies and contributes to the larger project of refashioning the role of English and American studies in a transborder, postnational global culture.
Established in 1935, the Federal Writers’ Project (FWP) sent over 6,500 unemployed historians, teachers, writers, and librarians out to document America’s past and present in the midst of the Great Depression. The English poet W. H. Auden referred to this New Deal program as “one of the noblest and most absurd undertakings ever attempted by any state.”
Featuring original work by scholars from a range of disciplinary perspectives, this edited collection provides fresh insights into how this extraordinary program helped transform American culture. In addition to examining some of the major twentieth-century writers whose careers the FWP helped to launch—including Ralph Ellison, Richard Wright, and Margaret Walker—Rewriting America presents new perspectives on the role of African Americans, Mexican Americans, Asian Americans, and women on the project. Essays also address how the project’s goals continue to resonate with contemporary realities in the midst of major economic and cultural upheaval.
Along with the volume editor, contributors include Adam Arenson, Sue Rubenstein DeMasi, Racheal Harris, Jerrold Hirsch, Kathi King, Maiko Mine, Deborah Mutnick, Diane Noreen Rivera, Greg Robinson, Robert Singer, James Sun, and David A. Taylor.
This collection of original essays examines how the idea of an authentic Chaucerian text was reimagined and reproduced by medieval and early modern scribes and editors to satisfy and shape the cultural expectations of their audiences. These “reproductions” of Chaucer’s works epitomize the tension between developing notions of what makes a text “authentic” and the cultural pressures that led scribes and editors to construct their own versions of Chaucer and his works.
The book begins by exploring medieval and early modern notions of origins and how they at once illuminate and problematize the recovery of Chaucerian texts. Essays in the second section examine how individual scribes and reading communities reshaped Chaucer’s texts. Finally, we see how the printing press—bringing with it a renewed concern about the idea of authenticity—led both to an increase in the number of works attributed to Chaucer and to increasing anxiety about their authenticity.
The focus on the ways in which Chaucer was rewritten in different cultural and aesthetic contexts will enable medieval and early modern critics to situate Chaucer more fully within his cultural milieu, while illuminating the ways in which his reputation as both a “laureate poet” and a “lewed compilator” affected rewritings of his works. Rewriting Chaucer, then, will appeal both to scholars interested in the critical juncture between manuscript and print culture and to those interested in how culture affects the reproduction of authoritative texts.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Rewriting Modernity: Studies in Black South African Literary History connects the black literary archive in South Africa—from the nineteenth-century writing of Tiyo Soga to Zakes Mda in the twenty-first century—to international postcolonial studies via the theory of transculturation, a position adapted from the Cuban anthropologist Fernando Ortiz.
David Attwell provides a welcome complication of the linear black literary history—literature as a reflection of the process of political emancipation—that is so often presented. He focuses on cultural transactions in a series of key moments and argues that black writers in South Africa have used print culture to map themselves onto modernity as contemporary subjects, to negotiate, counteract, reinvent, and recast their positioning within colonialism, apartheid, and the context of democracy.
Innovative poetry, philosophy, theology and new sciences converge in the project of rewriting the word “God”
What did it mean for people of color in nineteenth-century America to speak or write "white"? More specifically, how many and what kinds of meaning could such "white" writing carry? In ReWriting White, Todd Vogel looks at how America has racialized language and aesthetic achievement. To make his point, he showcases the surprisingly complex interactions between four nineteenth-century writers of color and the "standard white English" they adapted for their own moral, political, and social ends. The African American, Native American, and Chinese American writers Vogel discusses delivered their messages in a manner that simultaneously demonstrated their command of the dominant discourse of their times-using styles and addressing forums considered above their station-and fashioned a subversive meaning in the very act of that demonstration.
The close readings and meticulous archival research in ReWriting White upend our conventional expectations, enrich our understanding of the dynamics of hegemony and cultural struggle, and contribute to the efforts of other cutting-edge contemporary scholars to chip away at the walls of racial segregation that have for too long defined and defaced the landscape of American literary and cultural studies.
Rhetoric and the Digital Humanities is a timely, multidisciplinary collection that is the first to bridge scholarship in rhetorical studies and the digital humanities. It offers much-needed guidance on how the theories and methodologies of rhetorical studies can enhance all work in digital humanities, and vice versa. Twenty-three essays over three sections delve into connections, research methodology, and future directions in this field. Jim Ridolfo and William Hart-Davidson have assembled a broad group of more than thirty accomplished scholars. Read together, these essays represent the cutting edge of research, offering guidance that will energize and inspire future collaborations.
Yet when you look at ancient and early modern treatises on rhetoric, what you find is surprising: they’re crawling with animals. With Rhetoric in Tooth and Claw, Debra Hawhee explores this unexpected aspect of early thinking about rhetoric, going on from there to examine the enduring presence of nonhuman animals in rhetorical theory and education. In doing so, she not only offers a counter-history of rhetoric but also brings rhetorical studies into dialogue with animal studies, one of the most vibrant areas of interest in humanities today. By removing humanity and human reason from the center of our study of argument, Hawhee frees up space to study and emphasize other crucial components of communication, like energy, bodies, and sensation.
Drawing on thinkers from Aristotle to Erasmus, Rhetoric in Tooth and Claw tells a new story of the discipline’s history and development, one animated by the energy, force, liveliness, and diversity of our relationships with our “partners in feeling,” other animals.
In the context of a growing scholarly literature devoted to the topics of biography and autobiography, especially in the Arabic literary tradition, the essays in this volume explore the forms and meanings of these genres with particular reference to Persian writings, as well as to writings in Arabic and Turkish that were also composed in Persianate societies.
The authors address, among other topics, biographies and autobiographies of women; biographies of specific occupational groups, such as poets; the relation of traditional “lives of poets” to the reception of their literary works; intertextuality across biographical and autobiographical writings and across languages; and the processes involved in translating written biographies for the contemporary television screen.
Readers are invited to glimpse the lives of figures from the past and to appreciate the historical, cultural, and literary contexts that shaped their biographical and autobiographical narratives, and to reflect on the continuing significance of these narratives into the modern era.
Hugh Blair, George Campbell, and Richard Whately, whose works were first published in the late 18th and early 19th centuries, constituted the great triumvirate of British Rhetoricians. For 20 years, earlier printings of this book, which contains substantial excerpts comprising the most significant portions of their writings, have been widely used as textbooks in history-of-rhetoric courses. An increasing interest in rhetoric at the college level has created a renewed demand for reprints of such classic primary texts.
The Preface places the three rhetoricians within the context of the rhetorical tradition, which began in 5th-century BCE Greece. The bibliographies have been updated to include 20th-century scholarly work on Blair, Campbell, and Whately, and on the 18th- and 19th-century rhetorical movement. Biographical sketches of Blair, Campbell, and Whately are also provided.
Despite historical differences among British, French, and American versions of colonialism, their rhetoric had much in common. The Rhetoric of Empire identifies these shared features—images, figures of speech, and characteristic lines of argument—and explores them in a wide variety of sources. A former correspondent for the United Press International, the author is equally at home with journalism or critical theory, travel writing or official documents, and his discussion is remarkably comprehensive. Ranging from T. E. Lawrence and Isak Dineson to Hemingway and Naipaul, from Time and the New Yorker to the National Geographic and Le Monde, from journalists such as Didion and Sontag to colonial administrators such as Frederick Lugard and Albert Sarraut, this analysis suggests the degree to which certain rhetorical tactics penetrate the popular as well as official colonial and postcolonial discourse.
Finally, Spurr considers the question: Can the language itself—and with it, Western forms of interpretation--be freed of the exercise of colonial power? This ambitious book is an answer of sorts. By exposing the rhetoric of empire, Spurr begins to loosen its hold over discourse about—and between—different cultures.
"A dense, witty, and richly allusive book . . . an extremely valuable contribution to postcolonial cultural studies as well as to the whole area of literary criticism."—Jean Sudrann, Choice
For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."
In the first and longer part of his work, Booth deals with the workings of what he calls "stable irony," irony with a clear rhetorical intent. He then turns to intended instabilities—ironies that resist interpretation and finally lead to the "infinite absolute negativities" that have obsessed criticism since the Romantic period.
Professor Booth is always ironically aware that no one can fathom the unfathomable. But by looking closely at unstable ironists like Samuel Becket, he shows that at least some of our commonplaces about meaninglessness require revision. Finally, he explores—with the help of Plato—the wry paradoxes that threaten any uncompromising assertion that all assertion can be undermined by the spirit of irony.
Using traditional and contemporary rhetorical theory, Winterowd argues that the fiction-nonfiction division of literature is unjustified and destructive.
He would bridge the gap between literary scholars and rhetoricians by including both fiction (imaginative literature) and nonfiction (literature of fact) in the canon. The actual difference in literary texts, he notes, lies not in their factuality but in their potential for eliciting an aesthetic response.
With speech act and rhetorical theory as a basis, Winterowd argues that presentational literature gains its power on the basis of its ethical and pathetic appeal, not because of its assertions or arguments.
After explaining how and why women have been excluded from the rhetorical tradition from antiquity through the Renaissance, Cheryl Glenn provides the opportunity for Sappho, Aspasia, Diotima, Hortensia, Fulvia, Julian of Norwich, Margery Kempe, Margaret More Roper, Anne Askew, and Elizabeth I to speak with equal authority and as eloquently as Plato, Aristotle, Cicero, and Augustine. Her aim is nothing less than regendering and changing forever the history of rhetoric.
To that end, Glenn locates women’s contributions to and participation in the rhetorical tradition and writes them into an expanded, inclusive tradition. She regenders the tradition by designating those terms of identity that have promoted and supported men’s control of public, persuasive discourse—the culturally constructed social relations between, the appropriate roles for, and the subjective identities of women and men.
Glenn is the first scholar to contextualize, analyze, and follow the migration of women’s rhetorical accomplishments systematically. To locate these women, she follows the migration of the Western intellectual tradition from its inception in classical antiquity and its confrontation with and ultimate appropriation by evangelical Christianity to its force in the medieval Church and in Tudor arts and politics.
Spurious composition.
Cicero (Marcus Tullius, 106–43 BC), Roman lawyer, orator, politician and philosopher, of whom we know more than of any other Roman, lived through the stirring era that saw the rise, dictatorship, and death of Julius Caesar in a tottering republic. In his political speeches especially and in his correspondence we see the excitement, tension and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, fifty-eight survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.
The Loeb Classical Library edition of Cicero is in twenty-nine volumes.
Rhetorical Machines addresses new approaches to studying computational processes within the growing field of digital rhetoric. While computational code is often seen as value-neutral and mechanical, this volume explores the underlying, and often unexamined, modes of persuasion this code engages. In so doing, it argues that computation is in fact rife with the values of those who create it and thus has powerful ethical and moral implications. From Socrates’s critique of writing in Plato’s Phaedrus to emerging new media and internet culture, the scholars assembled here provide insight into how computation and rhetoric work together to produce social and cultural effects.
This multidisciplinary volume features contributions from scholar-practitioners across the fields of rhetoric, computer science, and writing studies. It is divided into four main sections: “Emergent Machines” examines how technologies and algorithms are framed and entangled in rhetorical processes, “Operational Codes” explores how computational processes are used to achieve rhetorical ends, “Ethical Decisions and Moral Protocols” considers the ethical implications involved in designing software and that software’s impact on computational culture, and the final section includes two scholars’ responses to the preceding chapters. Three of the sections are prefaced by brief conversations with chatbots (autonomous computational agents) addressing some of the primary questions raised in each section.
At the heart of these essays is a call for emerging and established scholars in a vast array of fields to reach interdisciplinary understandings of human-machine interactions. This innovative work will be valuable to scholars and students in a variety of disciplines, including but not limited to rhetoric, computer science, writing studies, and the digital humanities.
Kathy Eden explores the intersection of early modern literary theory and practice. She considers the rebirth of the rhetorical art—resulting from the rediscovery of complete manuscripts of high-profile ancient texts about rhetoric by Plato, Aristotle, Cicero, Quintilian, and Tacitus, all unavailable before the early fifteenth century—and the impact of this art on early modern European literary production. This profound influence of key principles and practices on the most widely taught early modern literary texts remains largely and surprisingly unexplored.
Devoting four chapters to these practices—on status, refutation, similitude, and style—Eden connects the architecture of the most widely read classical rhetorical manuals to the structures of such major Renaissance works as Petrarch’s Secret, Castiglione’s Book of the Courtier, Erasmus’s Antibarbarians and Ciceronianus, and Montaigne’s Essays. Eden concludes by showing how these rhetorical practices were understood to work together to form a literary masterwork, with important implications for how we read these texts today.
The volume is especially timely in light of the growing interest in "microhistory," and in the histories that are emerging from nonliterary documents. Chapters consider numerous genres, including hagiography, epistolary and verse biography, and less familiar forms such as parodic prosopography, life-writing in funeral sermons, and comic martyrology.
Contributors to the volume come from history, art history, and literature, and they include F.W. Conrad, Sheila ffolliott, Robert Kolb, James Mehl, Diana Robin, T.C. Price Zimmerman, and Elizabeth Goldsmith and Abby Zanger, among others.
Thomas F. Mayer is Associate Professor of History, Augustana College. D. R. Woolf is Professor of History, Dalhousie University.
Makes accessible to modern readers the 17th-century rhetorics of Thomas Hobbes (1588–1677) and Bernard Lamy (1640–1715)
Hobbes’ A Briefe of the Art of Rhetorique, the first English translation of Aristotle’s rhetoric, reflects Hobbes’ sense of rhetoric as a central instrument of self-defense in an increasingly fractious Commonwealth. In its approach to rhetoric, which Hobbes defines as “that Faculty by which wee understand what will serve our turne, concerning any subject, to winne beliefe in the hearer,” the Briefe looks forward to Hobbes’ great political works De Cive and Leviathan.
Published anonymously in France as De l’art de parler, Lamy’s rhetoric was translated immediately into English as The Art of Speaking. Lamy’s long association with the Port Royalists made his works especially attractive to English readers because Port Royalists were engaged in a vicious quarrel with the Jesuits during the last half of the 17th century.
Despite its global popularity, rap has received little scholarly attention in terms of its poetic features. Rhymes in the Flow systematically analyzes the poetics (rap beats, rhythms, rhymes, verse and song structures) of many notable rap songs to provide new insights on rap artistry and performance. Defining and describing the features of what rappers commonly call flow, the authors establish a theory of the rap line as they trace rap’s deepest roots and stylistic evolution—from Anglo-Saxon poetry to Lil Wayne—and contextualize its complex poetics. Rhymes in the Flow helps explain rap’s wide appeal by focusing primarily on its rhythmic and thematic power, while also claiming its historical, cultural, musical, and poetic importance.
Vincent Barletta explores rhythm through three historical moments, each addressing it as a phenomenon that transcends poetry, aesthetics, and even temporality. He reveals rhythm to be a power that holds us in place, dispossesses us, and shapes the foundations of our world. In these moments, Barletta encounters rhythm as a primordial and physical binding force that establishes order and form in the ancient world, as the anatomy of lived experience in early modern Europe, and as a subject of aesthetic and ethical questioning in the twentieth century.
A wide-ranging book covering a period spanning two millennia and texts from over ten languages, Rhythm will expand the conversation around this complex and powerful phenomenon.
What made the classical scholar Richard Bentley deserve to be so viciously skewered by two of the literary giants of his day—Jonathan Swift in the Battle of the Books and Alexander Pope in the Dunciad? The answer: he had the temerity to bring classical study out of the scholar's closet and into the drawing rooms of polite society. Kristine Haugen’s highly engaging biography of a man whom Rhodri Lewis characterized as “perhaps the most notable—and notorious—scholar ever to have English as a mother tongue” affords a fascinating portrait of Bentley and the intellectual turmoil he set in motion.
Aiming at a convergence between scholarship and literary culture, the brilliant, caustic, and imperious Bentley revealed to polite readers the doings of professional scholars and induced them to pay attention to classical study. At the same time, Europe's most famous classical scholar adapted his own publications to the deficiencies of non-expert readers. Abandoning the church-oriented historical study of his peers, he worked on texts that interested a wider public, with spectacular and—in the case of his interventionist edition of Paradise Lost—sometimes lamentable results.
If the union of worlds Bentley craved was not to be achieved in his lifetime, his provocations show that professional humanism left a deep imprint on the literary world of England's Enlightenment.
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