Covering 800 years of intellectual and literary history, Prica considers the textual forms of ruins.
Western ruins have long been understood as objects riddled with temporal contradictions, whether they appear in baroque poetry and drama, Romanticism’s nostalgic view of history, eighteenth-century paintings of classical subjects, or even recent photographic histories of the ruins of postindustrial Detroit. Decay and Afterlife pivots away from our immediate, visual fascination with ruins, focusing instead on the textuality of ruins in works about disintegration and survival. Combining an impressive array of literary, philosophical, and historiographical works both canonical and neglected, and encompassing Latin, Italian, French, German, and English sources, Aleksandra Prica addresses ruins as textual forms, examining them in their extraordinary geographical and temporal breadth, highlighting their variability and reflexivity, and uncovering new lines of aesthetic and intellectual affinity. Through close readings, she traverses eight hundred years of intellectual and literary history, from Seneca and Petrarch to Hegel, Goethe, and Georg Simmel. She tracks European discourses on ruins as they metamorphose over time, identifying surprising resemblances and resonances, ignored contrasts and tensions, as well as the shared apprehensions and ideas that come to light in the excavation of these discourses.
Can Scotland be considered an English colony? Is its experience and literature comparable to that of overseas postcolonial countries? Or are such comparisons no more than patriotic victimology to mask Scottish complicity in the British Empire and justify nationalism? These questions have been heatedly debated in recent years, especially in the run-up to the 2014 referendum on independence, and remain topical amid continuing campaigns for more autonomy and calls for a post-Brexit “indyref2.” Gaelic Scotland in the Colonial Imagination offers a general introduction to the emerging field of postcolonial Scottish studies, assessing both its potential and limitations in order to promote further interdisciplinary dialogue. Accessible to readers from various backgrounds, the book combines overviews of theoretical, social, and cultural contexts with detailed case studies of literary and nonliterary texts. The main focus is on internal divisions between the anglophone Lowlands and traditionally Gaelic Highlands, which also play a crucial role in Scottish–English relations. Silke Stroh shows how the image of Scotland’s Gaelic margins changed under the influence of two simultaneous developments: the emergence of the modern nation-state and the rise of overseas colonialism.
Russian literature has always been inseparable from Russian history. D. S. Mirsky constantly keeps in mind the ever-colorful and ever-changing aspects of the one in discussing the other. Sound in judgment, luminescent, and exquisitely written, Mirsky's book is essential reading for anyone interested in one of the world's great literatures. A History of Russian Literature covers the beginning of Russian fiction, the Age of Classicism, the Age of Gogol, and the poets, journalists, novelists, and playwrights of the Age of Realism.
Volume I begins with a generous selection of Native American materials, then spans the years from the establishment of the American colonies to about 1900, a world on the brink of World War I and the modern era. Part One focuses on poetry from the very beginnings through the end of the eighteenth century. The expansion and development of a newly forged nation engendered new kinds of poetry. Part Two includes works from the early nineteenth century through the time of the Civil War. The poems in Part Three reflect the many issues affecting a nation undergoing tumultuous change: the Civil War, immigration, urbanization, industrialization, and cultural diversification.
Such well-recognized names as Anne Bradstreet, Edward Taylor, Phillis Wheatley, Edgar Allan Poe, Herman Melville, Walt Whitman, Emily Dickinson, and Stephen Crane appear in this anthology alongside such less frequently anthologized poets as George Horton, Sarah Helen Whitman, Elizabeth Oakes-Smith, Frances Harper, Rose Terry Cooke, Helen Hunt Jackson, Adah Menken, Sarah Piatt, Ina Coolbrith, Emma Lazarus, Albery Whitman, Owl Woman (Juana Manwell) Sadakichi Hartmann, Ernest Fenollosa, James Weldon Johnson, Paul Laurence Dunbar, and—virtually unknown as a poet—Abraham Lincoln. It also includes poems and songs reflecting the experiences of a variety of racial and ethnic groups.
The Right of Instruction and Representation in American Legislatures, 1778 to 1900 provides a comprehensive analysis of the role constituent instructions played in American politics for more than a hundred years after its founding. Constituent instructions were more widely issued than previously thought, and members of state legislatures and Congress were more likely to obey them than political scientists and historians have assumed. Peverill Squire expands our understanding of constituent instructions beyond a handful of high-profile cases, through analyses of two unique data sets: one examining more than 5,000 actionable communications (instructions and requests) sent to state legislators by constituents through town meetings, mass meetings, and local representative bodies; the other examines more than 6,600 actionable communications directed by state legislatures to their state’s congressional delegations. He draws the data, examples, and quotes almost entirely from original sources, including government documents such as legislative journals, session laws, town and county records, and newspaper stories, as well as diaries, memoirs, and other contemporary sources. Squire also includes instructions to and from Confederate state legislatures in both data sets. In every respect, the Confederate state legislatures mirrored the legislatures that preceded and followed them.
An engaging look at early twentieth-century American printmaking, which frequently focused on the crowded, chaotic, and “gritty” modern city.
In the first half of the twentieth century, a group of American artists influenced by the painter and teacher Robert Henri aimed to reject the pretenses of academic fine art and polite society. Embracing the democratic inclusiveness of the Progressive movement, these artists turned to making prints, which were relatively inexpensive to produce and easy to distribute. For their subject matter, the artists mined the bustling activity and stark realities of the urban centers in which they lived and worked. Their prints feature sublime towering skyscrapers and stifling city streets, jazzy dance halls and bleak tenement interiors—intimate and anonymous everyday scenes that addressed modern life in America.
True Grit examines a rich selection of prints by well-known figures like George Bellows, Edward Hopper, Joseph Pennell, and John Sloan as well as lesser-known artists such as Ida Abelman, Peggy Bacon, Miguel Covarrubias, and Mabel Dwight. Written by three scholars of printmaking and American art, the essays present nuanced discussions of gender, class, literature, and politics, contextualizing the prints in the rapidly changing milieu of the first decades of twentieth-century America.
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center October 15, 2019, to January 19, 2020.
This interdisciplinary volume provides a historical and international framework for understanding the changing role of women in the political economy of Latin America and the Caribbean. The contributors challenge the traditional policies, goals, and effects of development, and examine such topics as colonialism and women's subordination; the links to economic, social, and political trends in North America; the gendered division of paid and unpaid work; differing economic structures, cultural and class patterns; women's organized resistance; and the relationship of gender to class, race, and ethnicity/nationality.