The Yale Critics was first published in 1983. 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.
A heated debate has been raging in North America in recent years over the form and function of literature. At the center of the fray is a group of critics teaching at Yale University—Harold Bloom, Geoffrey Hartman, Paul de Man, and J. Hillis Miller—whose work can be described in relation to the deconstructive philosophy practiced by French philosopher Jacques Derrida. For over a decade the Yale Critics have aroused controversy; most often they are considered as a group, to be applauded or attacked, rather than as individuals whose ideas merit critical scrutiny. Here a new generation of scholars attempts for the first time a serious, broad assessment of the Yale group. These essays appraise the Yale Critics by exploring their roots, their individual careers, and the issues they introduce.
Wallace Martin's introduction offers a brilliant, compact account of the Yale Critics and of their relation to deconstruction and the deconstruction to two characteristically Anglo-American enterprises; Paul Bove explores the new criticism and Wlad Godzich the reception of Derrida in America. Next come essays giving individual attention to each of the critics: Michael Sprinker on Hartman, Donald Pease on Miller, Stanley Corngold on de Man, and Daniel O'Hara on Bloom. Two essays then illuminate "deconstruction in America" through a return to modern continental philosophy: Donald Marshall on Maurice Blanchot, and Rodolphe Gasche on Martin Heidegger. Finally, Jonathan Arac's afterword brings the volume together and projects a future beyond the Yale Critics.
Throughout, the contributors aim to provide a balanced view of a subject that has most often been treated polemically. While useful as an introduction, The Yale Critics also engages in a serious critical reflection on the uses of the humanities in American today.
In the past twenty-five years many Native American writers have retold the traditional stories of powerful mythological women: Corn Woman, Changing Woman, Serpent Woman, and Thought Woman, who with her sisters created all life by thinking it into being. Within and in response to these evolving traditions, Leslie Marmon Silko takes from her own tradition, the Keres of Laguna, the Yellow Woman. Yellow Woman stories, always female-centered and always from the Yellow Woman's point of view, portray a figure who is adventurous, strong, and often alienated from her own people. She is the spirit of woman. Ambiguous and unsettling, Silko's "Yellow Woman" explores one woman's desires and changes--her need to open herself to a richer sensuality. Walking away from her everyday identity as daughter, wife and mother, she takes possession of transgressive feelings and desires by recognizing them in the stories she has heard, by blurring the boundaries between herself and the Yellow Woman of myth.
Silko's decision to tell the story from the narrator's point of view is traditional, but her use of first person narration and the story's much raised ambiguity brilliantly reinforce her themes. Like traditional yellow women, the narrator is unnamed. By choosing not to reveal her name, she claims the role of Yellow Woman, and Yellow Woman's story is the one Silko clearly claims as her own. The essays in this collection compare Silko's many retellings of Yellow Woman stories from a variety of angles, looking at crucial themes like storytelling, cultural inheritances, memory, continuity, identity, interconnectedness, ritual, and tradition.
This casebook includes an introduction by the editor, a chronology, an authoritative text of the story itself, critical essays, and a bibliography for further reading in both primary and secondary sources. Contributors include Kim Barnes, A. LaVonne Ruoff, Paula Gunn Allen, Patricia Clark Smith, Bernard A. Hirsch, Arnold Krupat, Linda Danielson, and Patricia Jones.
Finalist, 2015 National Jewish Book Awards in the American Jewish Studies category
Winner, 2017 AJS Jordan Schnitzer Book Award in the category of Modern Jewish History and Culture: Africa, Americas, Asia, and Oceania
Young Lions: How Jewish Authors Reinvented the American War Novel shows how Jews, traditionally castigated as weak and cowardly, for the first time became the popular literary representatives of what it meant to be a soldier and what it meant to be an American. Revisiting best-selling works ranging from Norman Mailer’s The Naked and the Dead to Joseph Heller’s Catch-22, and uncovering a range of unknown archival material, Leah Garrett shows how Jewish writers used the theme of World War II to reshape the American public’s ideas about war, the Holocaust, and the role of Jews in postwar life. In contrast to most previous war fiction these new “Jewish” war novels were often ironic, funny, and irreverent and sought to teach the reading public broader lessons about liberalism, masculinity, and pluralism.
Though the field of comic book studies has burgeoned in recent years, Latino characters and creators have received little attention. Putting the spotlight on this vibrant segment, Your Brain on Latino Comics illuminates the world of superheroes Firebird, Vibe, and the new Blue Beetle while also examining the effects on readers who are challenged to envision such worlds.
Exploring mainstream companies such as Marvel and DC as well as rising stars from other segments of the industry, Frederick Aldama provides a new reading of race, ethnicity, and the relatively new storytelling medium of comics themselves. Overview chapters cover the evolution of Latino influences in comics, innovations, and representations of women, demonstrating Latino transcendence of many mainstream techniques. The author then probes the rich and complex ways in which such artists affect the cognitive and emotional responses of readers as they imagine past, present, and future worlds.
Twenty-one interviews with Latino comic book and comic strip authors and artists, including Laura Molina, Frank Espinosa, and Rafael Navarro, complete the study, yielding captivating commentary on the current state of the trade, cultural perceptions, and the intentions of creative individuals who shape their readers in powerful ways.
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