A SCHOLARLY BOOK REPOSITORY274 start with N start with N
How films help us understand the inevitable death of Earth and humanity
Offering a bracing theoretical corrective to ecocriticism’s emphasis on pedagogies of care and interconnection, Negative Life: The Cinema of Extinction brings cinema studies, queer theory, and psychoanalysis into novel configuration around a concept inherent to yet critical of life: negative life, a sundering of the connections between human and nonhuman relations. Engaging questions and challenges such as the nothingness of existentialism, the aversive side of sex, and the immanent exception of the drive in psychoanalysis, coauthors Steven Swarbrick and Jean-Thomas Tremblay not only counter ecocritical pieties but cut a new path for theory. They engage a unique corpus of films and philosophies that reject the pastoralism of “entanglement” or “enmeshment,” which have functioned as an ethical and aesthetic alibi for extinction. Negative Life examines films by Julian Pölsler, Kelly Reichardt, Lee Isaac Chung, Mahesh Matai, and Paul Schrader, which exemplify the existential contradictions that have intensified amid the sixth mass extinction; meanwhile, a set of interludes on ecohorror supplement this focus on negative life and the philosophers and theorists who express it. Each case study testifies formally and thematically to negative life as a structural condition of thought and film. Together, the titles that compose the titular cinema of extinction reveal the unlivable dimension of life and art, where form, desire, and nonbelonging tarry with the future-oriented promise of ecostudies—where all that lives connects. Negative Life militates against this promise, showing that faith in connection is a dead end.
In many parts of Appalachia, family ties run deep, constituting an important part of an individual’s sense of self. In some cases, when Appalachian learners seek new forms of knowledge, those family ties can be challenged by the accusation that they have gotten above their raisings, a charge that can have a lasting impact on family and community acceptance. Those who advocate literacy sometimes ignore an important fact — although empowering, newly acquired literacies can create identity conflicts for learners, especially Appalachian women. In Negotiating a Perilous Empowerment, Erica Abrams Locklear explores these literacy-initiated conflicts, analyzing how authors from the region portray them in their fiction and creative nonfiction.
Abrams Locklear blends literacy studies with literary criticism to analyze the central female characters in the works of Harriette Simpson Arnow, Linda Scott DeRosier, Denise Giardina, and Lee Smith. She shows how these authors deftly overturn stereotypes of an illiterate Appalachia by creating highly literate characters, women who not only cherish the power of words but also push the boundaries of what literacy means.
Negotiating a Perilous Empowerment includes in-depth interviews with Linda Scott DeRosier and Lee Smith, making this an insightful study of an important literary genre.
From Spike Lee's She's Gotta Have It to Michael Jackson's physical transmutations, from Toni Morrison's Song of Solomon to August Wilson's Fences, from male scholars' investments in feminism to white scholars' in black texts—Awkward explores cultural moments that challenge the exclusive critical authority of race and gender. In each instance he confronts the question: What do artists, scholars, and others concerned with representations of Afro-American life make of the view that gender, race, and sexuality circumscribe their own and others' lives and narratives? Throughout he demonstrates the perils and merits of the sort of "boundary crossing" this book ultimately makes: a black male feminism.
In pursuing a black male feminist criticism, Awkward's study acknowledges the complexities of interpretation in an age when a variety of powerful discourses have proliferated on the subject of racial, gendered, and sexual difference; at the same time, it identifies this proliferation as an opportunity to negotiate seemingly fixed cultural and critical positions.
The Latin/o America examined here stretches from Patagonia to New York City, bridging the political and geographical divides between U.S. Latinos and Latin Americans. Moving from Nuyorican casitas in the South Bronx, to subversive street performances in Buenos Aires, to border art from San Diego/Tijuana, this volume negotiates the borders that bring Americans together and keep them apart, while at the same time debating the use of the contested term "Latino/a." In the emerging dialogue, contributors reenvision an inclusive "América," a Latin/o America that does not pit nationality against ethnicity—in other words, a shared space, and a home to all Latin/o Americans.
Negotiating Performance opens up the field of Latin/o American theater and performance criticism by looking at performance work by Mayans, women, gays, lesbians, and other marginalized groups. In so doing, this volume will interest a wide audience of students and scholars in feminist and gender studies, theater and performance studies, and Latin American and Latino cultural studies.
Contributors. Judith Bettelheim, Sue-Ellen Case, Juan Flores, Jean Franco, Donald H. Frischmann, Guillermo Gómez-Peña, Jorge Huerta, Tiffany Ana López, Jacqueline Lazú, María Teresa Marrero, Cherríe Moraga, Kirsten F. Nigro, Patrick O’Connor, Jorge Salessi, Alberto Sandoval, Cynthia Steele, Diana Taylor, Juan Villegas, Marguerite Waller
Why can a “white” woman give birth to a “black” baby, while a “black” woman can never give birth to a “white” baby in the United States? What makes racial “passing” so different from social mobility? Why are interracial and incestuous relations often confused or conflated in literature, making “miscegenation” appear as if it were incest? Werner Sollors examines these questions and others in Neither Black nor White yet Both, a fully researched investigation of literary works that, in the past, have been read more for a black–white contrast of “either–or” than for an interracial realm of “neither, nor, both, and in-between.”
From the origins of the term “race” to the cultural sources of the “Tragic Mulatto,” and from the calculus of color to the retellings of various plots, Sollors examines what we know about race, analyzing recurrent motifs in scientific and legal works as well as in fiction, drama, and poetry.
The preeminent lyric poet of ancient Greece.
Of the Greek lyric poets, Pindar (ca. 518–438 BC) was “by far the greatest for the magnificence of his inspiration” in Quintilian’s view; Horace judged him “sure to win Apollo’s laurels.” The esteem of the ancients may help explain why a good portion of his work was carefully preserved. Most of the Greek lyric poets come down to us only in bits and pieces, but nearly a quarter of Pindar’s poems survive complete. William H. Race now brings us, in two volumes, a new edition and translation of the four books of victory odes, along with surviving fragments of Pindar’s other poems.
Like Simonides and Bacchylides, Pindar wrote elaborate odes in honor of prize-winning athletes for public performance by singers, dancers, and musicians. His forty-five victory odes celebrate triumphs in athletic contests at the four great Panhellenic festivals: the Olympic, Pythian (at Delphi), Nemean, and Isthmian games. In these complex poems, Pindar commemorates the achievement of athletes and powerful rulers against the backdrop of divine favor, human failure, heroic legend, and the moral ideals of aristocratic Greek society. Readers have long savored them for their rich poetic language and imagery, moral maxims, and vivid portrayals of sacred myths.
Race provides brief introductions to each ode and full explanatory footnotes, offering the reader invaluable guidance to these often difficult poems. His Loeb Pindar also contains a helpfully annotated edition and translation of significant fragments, including hymns, paeans, dithyrambs, maiden songs, and dirges.
Alcibiades was one of the most dazzling figures of the Golden Age of Athens. A ward of Pericles and a friend of Socrates, he was spectacularly rich, bewitchingly handsome and charismatic, a skilled general, and a ruthless politician. He was also a serial traitor, infamous for his dizzying changes of loyalty in the Peloponnesian War. Nemesis tells the story of this extraordinary life and the turbulent world that Alcibiades set out to conquer.
David Stuttard recreates ancient Athens at the height of its glory as he follows Alcibiades from childhood to political power. Outraged by Alcibiades’ celebrity lifestyle, his enemies sought every chance to undermine him. Eventually, facing a capital charge of impiety, Alcibiades escaped to the enemy, Sparta. There he traded military intelligence for safety until, suspected of seducing a Spartan queen, he was forced to flee again—this time to Greece’s long-term foes, the Persians. Miraculously, though, he engineered a recall to Athens as Supreme Commander, but—suffering a reversal—he took flight to Thrace, where he lived as a warlord. At last in Anatolia, tracked by his enemies, he died naked and alone in a hail of arrows.
As he follows Alcibiades’ journeys crisscrossing the Mediterranean from mainland Greece to Syracuse, Sardis, and Byzantium, Stuttard weaves together the threads of Alcibiades’ adventures against a backdrop of cultural splendor and international chaos. Navigating often contradictory evidence, Nemesis provides a coherent and spellbinding account of a life that has gripped historians, storytellers, and artists for more than two thousand years.
How should we understand the bugarrón, a man who has sex with other men while regarding himself as heterosexual? Reaching beyond queer and gay studies, Ramón E. Soto-Crespo’s research suggests that this paradoxical figure mutated into what he calls the “neobugarrón,” a neoliberal market-oriented actor who used the traditional sexual practice as an optimizing strategy for manipulating the forces of globalization during the 1990s.
In Neobugarrón: Heteroflexibility, Neoliberalism, and Latin/o American Sexual Practice, Soto-Crespo chronicles the cultural modifications of bugarrón, a distinct male-male sexual practice in Latin/o America and the Caribbean, during the twentieth and twenty-first centuries. Working with and against Foucault and Kinsey to examine diverse works from anthropology, literature, cinema, and social media, he investigates a wide array of bugarrón sources, ranging from previously underexamined multimedia to ethnographies, fiction, films, and beyond. These works constitute a neobugarrón archive and attest to a sexual practice currently metamorphosing on the cusp of extinction. Soto-Crespo’s analysis challenges conventional understandings of “heteroflexible” sex between men and reveals a hitherto unnoticed transformation in neoliberal ecologies of bugarrón sexual practice.
Where does Neo-Confucianism—a movement that from the twelfth to the seventeenth centuries profoundly influenced the way people understood the world and responded to it—fit into our story of China’s history?
This interpretive, at times polemical, inquiry into the Neo-Confucian engagement with the literati as the social and political elite, local society, and the imperial state during the Song, Yuan, and Ming dynasties is also a reflection on the role of the middle period in China’s history. The book argues that as Neo-Confucians put their philosophy of learning into practice in local society, they justified a new social ideal in which society at the local level was led by the literati with state recognition and support. The later imperial order, in which the state accepted local elite leadership as necessary to its own existence, survived even after Neo-Confucianism lost its hold on the center of intellectual culture in the seventeenth century but continued as the foundation of local education. It is the contention of this book that Neo-Confucianism made that order possible.
Neoliberal Bonds vehemently criticizes how Chile’s transition governments, through a series of political and legal maneuvers, created the state’s official memory narratives. Blanco argues that the state, the media, academia, and the neoliberal market colluded to colonize and mediatize the “memory scene.” In contrast to these official narratives, Neoliberal Bonds analyzes alternative memory accounts within the visual arts and literature that push back against the state, its institutions, and its economic allies. These alternative memory narratives highlight the ontological fracture of the new neoliberal subjects; they also bring into sharp relief the urgent need for democratization that still poses a challenge to Chile a quarter century after its “transition to democracy” began.
Each chapter considers how popular media and artistic forms make sense of decentralized network metaphors and infrastructures. Patrick Jagoda first examines narratives from the 1990s and 2000s, including the novel Underworld, the film Syriana, and the television series The Wire, all of which play with network forms to promote reflection on domestic crisis and imperial decline in contemporary America. Jagoda then looks at digital media that are interactive, nonlinear, and dependent on connected audiences to show how recent approaches, such as those in the videogame Journey, open up space for participatory and improvisational thought.
Contributing to fields as diverse as literary criticism, digital studies, media theory, and American studies, Network Aesthetics brilliantly demonstrates that, in today’s world, networks are something that can not only be known, but also felt, inhabited, and, crucially, transformed.
Simultaneously transnational and local, poetry in the twenty-first century is produced across digital networks, shaped through local communities, and evaluated on a global scale. It might start on social media, where a video of a poet circulates and goes viral, gaining international attention without ever going through traditional modes of publication. In Networked Poetics, Susanna L. Sacks introduces readers to the southern African poetry scene in Malawi, Zimbabwe, and South Africa, illustrating how contemporary poetry is shaped, from inception to canonization, by the influence of digital media publication.
Interweaving ethnographic observation and extensive literary analysis, Sacks demonstrates that, as more artists in Africa reach wider audiences through online publication, poetic form has shifted to reflect social media’s aesthetic norms of urgency, immediacy, and populism. These changes have, in turn, challenged elite processes of valuation, forcing literary institutions like prizes, festivals, and curricula to accommodate the digital turn.
In The Networked Wilderness, Matt Cohen examines communications systems in early New England and finds that, surprisingly, struggles over information technology were as important as theology, guns, germs, or steel in shaping the early colonization of North America. Colonists in New England have generally been viewed as immersed in a Protestant culture of piety and alphabetic literacy. At the same time, many scholars have insisted that the culture of the indigenous peoples of the region was a predominantly oral culture. But what if, Cohen posits, we thought about media and technology beyond the terms of orality and literacy?
Reconceptualizing aural and inscribed communication as a spectrum, The Networked Wilderness bridges the gap between the history of the book and Native American systems of communication. Cohen reveals that books, paths, recipes, totems, and animals and their sounds all took on new interactive powers as the English negotiated the well-developed informational trails of the Algonquian East Coast and reported their experiences back to Europe. Native and English encounters forced all parties to think of each other as audiences for any event that might become a kind of "publication."
Using sources ranging from Thomas Morton's Maypole festival to the architecture of today's Mashantucket Pequot Museum and Research Center, Cohen shows that the era before the printing press came to New England was one of extraordinary fertility for communications systems in America.
The interdisciplinary sweep of this book is impressive. Otis focuses simultaneously on literary works by such authors as George Eliot, Bram Stoker, Henry James, and Mark Twain and on the scientific and technological achievements of such pioneers as Luigi Galvani, Hermann von Helmholtz, Charles Babbage, Samuel Morse, and Werner von Siemens.
This unique juxtaposition of physiology, engineering, and literature reveals the common thoughts shared by writers in widely diverse fields and suggests that our current comparisons of nerve and computer networks may not only enhance but shape our understanding of both neurobiology and technology.
Highly accessible and jargon-free, Networking will appeal to general readers as well as to scholars in the fields of interdisciplinary studies, nineteenth-century literature, and the history of science and technology.
Laura Otis is Associate Professor of English, Hofstra University. In 2000, she was awarded a MacArthur Foundation Fellowship for her interdisciplinary studies of literature and science. Her previous books include Membranes: Metaphors of Invasion in Nineteenth-Century Literature, Science, and Politics and Organic Memory: History and the Body in the Late Nineteenth and Early Twentieth Centuries.
Working against the stubbornly persistent image of “dark satanic mills,” in many ways so characteristic of literary Romanticism, Jon Mee provides a fresh, revisionary account of the Industrial Revolution as a story of unintended consequences. In Networks of Improvement, Mee reads a wide range of texts—economic, medical, and more conventionally “literary”—with a focus on their circulation through networks and institutions. Mee shows how a project of enlightened liberal reform articulated in Britain’s emerging manufacturing towns led to unexpectedly coercive forms of machine productivity, a pattern that might be seen repeating in the digital technologies of our own time. Instead of treating the Industrial Revolution as Romanticism’s “other,” Mee shows how writing, practices, and institutions emanating from these industrial towns developed a new kind of knowledge economy, one where local literary and philosophical societies served as important transmission hubs for the circulation of knowledge.
In this ferment of social upheaval and technological change, the moderns found what we would today term “the network,” though they did not have the vocabulary for it that we do now, to be a versatile model for their aesthetic experiments in representing social space and social relations. Whether they used the figuration of the network as a kind of formal experiment to negotiate the tensions between dispersal and unity, fragment and totality, or took the network as a subject in itself, as seen when dealing with crowds or public spaces, the network was a way for writers and artists to conceptualize and explore their rapidly changing society. Through readings of the works of Randolph Bourne, Jean Toomer, Anita Loos, John Dos Passos, and Nathanael West, Networks of Modernism positions the network as the defining figure of American modernist aesthetics and explores its use as a conceptual tool used to think through the rapid changes in American society.
The Neuroscientific Turnbrings together 19 scholars from a variety of fields to reflect on the promises of and challenges facing emergent "neurodisciplines" such as neuroethics, neuroeconomics, and neurohistory. In the aftermath of the Decade of the Brain, neuroscience has become one of the hottest topics of study---not only for scientists but also, increasingly, for scholars from the humanities and social sciences. While the popular press has simultaneously lauded and loathed the coming "neurorevolution," the academy has yet to voice any collective speculations about whether there is any coherence to this neuroscientific turn; what this turn will and should produce; and what implications it has for inter- or transdisciplinary inquiry.
Melissa M. Littlefield and Jenell M. Johnson provide an initial framework for this most recent of "turns" by bringing together 14 original essays by scholars from the humanities, social sciences, and neurosciences. The resulting collection will appeal to neuroscientists curious about their colleagues' interest in their work; scholars and students both in established neurodisciplines and in disciplines such as sociology or English wondering about how to apply neuroscience findings to their home disciplines; and to science, technology, and society scholars and students interested in the roles of interdisciplinarity and transdisciplinarity in the construction of knowledge.
Known for his sometimes-gritty naturalism and use of Appalachian dialect, Harry Harrison Kroll (1888–1967) was a remarkably prolific Tennessee novelist and short-story writer during the middle decades of the twentieth century. His career spanned two of the three major shifts in publishing during the twentieth century: the heyday and decline of the fiction magazine market during the late 1920s, and the rise of nonfiction and solidification of paperback marketing during the 1950s. Never Been Rich explores details of Kroll’s humble, rural youth, his long delayed education and the development of his craft, before discussing his lengthy career and how it reflected changes in both public taste and the American publishing industry.
Kroll focused on writing not as a high art, but instead on what was popular—what would earn him a living. He preferred to write voluminously rather than exquisitely, and growing up in the rural south provided him with a broad and fertile field of experience to plow for his crop of stories. As a writing instructor, he had a profound influence on his students, particularly the well-known Appalachian triumvirate of James Still, Jesse Stuart, and Don West.
While Kroll may lack grand literary significance, Richard Saunders maintains that we should explore not merely the linguistic and thematic aspects of a writer’s work but also its broad economic and social contexts, including the idea that literature is both an art form and a marketable product in an extensive industry. His study of Kroll delves deeply into those contexts and shows that, while Kroll did not strive for a place among writers of high literature, he exemplifies the far more widely read popular literature of his times.
The characters defined by this dual consciousness constitute a new kind of protagonist: a distinctively Jewish scapegrace whom Udel denominates the polit or refugee. Cousin to the Golden Age Spanish pícaro, the polit is a socially marginal figure who narrates his own story in discrete episodes, as if stringing beads on a narrative necklace. A deeply unsettled figure, the polit is allergic to sentimentality and even routine domesticity. His sequential misadventures point the way toward the heart of the picaresque, which Jewish authors refashion as a vehicle for modernism—not only in Yiddish, but also in German, Russian, English and Hebrew. Udel draws out the contours of the new Jewish picaresque by contrasting it against the nineteenth-century genre of progress epitomized by the Bildungsroman.
While this book is grounded in modern Jewish literature, its implications stretch toward genre studies in connection with modernist fiction more generally. Udel lays out for a diverse readership concepts in the history and theory of the novel while also explicating the relevant particularities of Jewish literary culture. In addressing the literary stylistics of a “minor” modernism, this study illuminates how the adoption of a picaresque sensibility allowed minority authors to write simultaneously within and against the literary traditions of Europe.
Considering novels along with journalism, theatrical performances, correspondences, and face-to-face encounters, Lucey focuses on the interlocking social and formal dimensions of using the first person. He argues for understanding the first person not just as a grammatical category but also as a collectively produced social artifact, demonstrating that Proust’s, Gide’s, and Colette’s use of the first person involved a social process of assuming the authority to speak about certain issues, or on behalf of certain people. Lucey reveals these three writers as both practitioners and theorists of the first person; he traces how, when they figured themselves or other first persons in certain statements regarding same-sex identity, they self-consciously called attention to the creative effort involved in doing so.
Steven Gould Axelrod, Camille Roman, and Thomas Travisano continue the standard of excellence set in Volumes I and II of this extraordinary anthology. Volume III provides the most compelling and wide-ranging selection available of American poetry from 1950 to the present. Its contents are just as diverse and multifaceted as America itself and invite readers to explore the world of poetry in the larger historical context of American culture.
Nearly three hundred poems allow readers to explore canonical works by such poets as Elizabeth Bishop, Robert Lowell, and Sylvia Plath, as well as song lyrics from such popular musicians as Bob Dylan and Queen Latifah. Because contemporary American culture transcends the borders of the continental United States, the anthology also includes numerous transnational poets, from Julia de Burgos to Derek Walcott. Whether they are the works of oblique avant-gardists like John Ashbery or direct, populist poets like Allen Ginsberg, all of the selections are accompanied by extensive introductions and footnotes, making the great poetry of the period fully accessible to readers for the first time.
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 New Apologists for Poetry was first published in 1956. 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 author's purpose is to clear the ground for a systematic aesthetics of poetry consistent with the insights of our most influential contemporary literary critics. The book is concerned with those of the so-called "new critics" who are trying to answer the need, forced on them by historical and cultural pressures, to justify poetry by securing for it a unique function for which modern "scientism" cannot find a substitute.
This volume provides intensive analyses of work by critics of several persuasions: T. E. Hulme, T. S. Eliot, I. A. Richards, John Crowe Ransom, Yvor Winters, Allen Tate, and Cleanth Brooks, and, for purposes of contrast, D. G. James, R. S. Crane, Elder Olson, and Max Eastman.
Allen Tate, the poet and critic, writes: "Mr. Krieger's book is the most searching in scholarship and the most profound in critical analysis of the existing books in this field."
Robert B. Heilman, critic and teacher, comments: "The author's knowledge of a complex field and his mastery of the analytical techniques which he is applying to a chosen set of critical positions are very impressive. He not only clarifies the positions of various contemporary critics by examining them in the light of the same set of general principles, but also provides some helpful, at times brilliant, insights into the works of various critics from the Greeks up to the present. He traces the history of concepts and thus establishes relationships among individual critics and critical schools."
Under Jini Kim Watson’s scrutiny, the Asian Tiger metropolises of Seoul, Taipei, and Singapore reveal a surprising residue of the colonial environment. Drawing on a wide array of literary, filmic, and political works, and juxtaposing close readings of the built environment, Watson demonstrates how processes of migration and construction in the hypergrowth urbanscapes of the Pacific Rim crystallize the psychic and political dramas of their colonized past and globalized present.
Examining how newly constructed spaces—including expressways, high-rises, factory zones, department stores, and government buildings—become figured within fictional and political texts uncovers how massive transformations of citizenries and cities were rationalized, perceived, and fictionalized. Watson shows how literature, film, and poetry have described and challenged contemporary Asian metropolises, especially around the formation of gendered and laboring subjects in these new spaces. She suggests that by embracing the postwar growth-at-any-cost imperative, they have buttressed the nationalist enterprise along neocolonial lines.
The New Asian City provides an innovative approach to how we might better understand the gleaming metropolises of the Pacific Rim. In doing so, it demonstrates how reading cultural production in conjunction with built environments can enrich our knowledge of the lived consequences of rapid economic and urban development.
In The New Bostonians, Marilynn S. Johnson examines the historical confluence of recent immigration and urban transformation in greater Boston, a region that underwent dramatic decline after World War II. Since the 1980s, the Boston area has experienced an astounding renaissance—a development, she argues, to which immigrants have contributed in numerous ways. From 1970 to 2010, the percentage of foreign-born residents of the city more than doubled, representing far more diversity than earlier waves of immigration. Like the older Irish, Italian, and other European immigrant groups whose labor once powered the region's industrial economy, these newer migrants have been crucial in re-building the population, labor force, and metropolitan landscape of the New Boston, although the fruits of the new prosperity have not been equally shared.
New Critical Approaches to the Short Stories of Ernest Hemingway is an all-new sequel to Benson’s highly acclaimed 1975 book, which provided the first comprehensive anthology of criticism of Ernest Hemingway’s masterful short stories. Since that time the availability of Hemingway’s papers, coupled with new critical and theoretical approaches, has enlivened and enlarged the field of American literary studies. This companion volume reflects current scholarship and draws together essays that were either published during the past decade or written for this collection.
The contributors interpret a variety of individual stories from a number of different critical points of view—from a Lacanian reading of Hemingway’s “After the Storm” to a semiotic analysis of “A Very Short Story” to an historical-biographical analysis of “Old Man at the Bridge.” In identifying the short story as one of Hemingway’s principal thematic and technical tools, this volume reaffirms a focus on the short story as Hemingway’s best work. An overview essay covers Hemingway criticism published since the last volume, and the bibliographical checklist to Hemingway short fiction criticism, which covers 1975 to mid-1989, has doubled in size.
Contributors. Debra A. Moddelmog, Ben Stotzfus, Robert Scholes, Hubert Zapf, Susan F. Beegel, Nina Baym, William Braasch Watson, Kenneth Lynn, Gerry Brenner, Steven K. Hoffman, E. R. Hagemann, Robert W. Lewis, Wayne Kvam, George Monteiro, Scott Donaldson, Bernard Oldsey, Warren Bennett, Kenneth G. Johnston, Richard McCann, Robert P. Weeks, Amberys R. Whittle, Pamela Smiley, Jeffrey Meyers, Robert E. Fleming, David R. Johnson, Howard L. Hannum, Larry Edgerton, William Adair, Alice Hall Petry, Lawrence H. Martin Jr., Paul Smith
Szalay situates his study within a liberal culture bent on security, a culture galvanized by its imagined need for private and public insurance.
Taking up prominent exponents of social and economic security—such as Franklin Delano Roosevelt, John Maynard Keynes, and John Dewey—Szalay demonstrates how the New Deal’s revision of free-market culture required rethinking the political function of aesthetics. Focusing in particular on the modernist fascination with the relation between form and audience, Szalay offers innovative accounts of Busby Berkeley, Jack London, James M. Cain, Robert Frost, Ayn Rand, Betty Smith, and Gertrude Stein, as well as extended analyses of the works of Ernest Hemingway, John Steinbeck, and Richard Wright.
New Digital Worlds traces the formation of postcolonial studies and digital humanities as fields, identifying how they can intervene in knowledge production in the digital age. Roopika Risam examines the role of colonial violence in the development of digital archives and the possibilities of postcolonial digital archives for resisting this violence. Offering a reading of the colonialist dimensions of global organizations for digital humanities research, she explores efforts to decenter these institutions by emphasizing the local practices that subtend global formations and pedagogical approaches that support this decentering. Last, Risam attends to human futures in new digital worlds, evaluating both how algorithms and natural language processing software used in digital humanities projects produce universalist notions of the "human" and also how to resist this phenomenon.
The first African American to publish a book on any subject, poet Phillis Wheatley (1753?–1784) has long been denigrated by literary critics who refused to believe that a black woman could produce such dense, intellectual work, let alone influence Romantic-period giants like Samuel Taylor Coleridge. Indeed, Thomas Jefferson once declared that “the compositions published under her name are below dignity of criticism.” In recent decades, however, Wheatley’s work has come under new scrutiny as the literature of the eighteenth century and the impact of African American literature have been reconceived. In these never-before-published essays, fourteen prominent Wheatley scholars consider her work from a variety of angles, affirming her rise into the first rank of American writers.
The pieces in the first section show that perhaps the most substantial measure of Wheatley’s multilayered texts resides in her deft handling of classical materials. The contributors consider Wheatley’s references to Virgil’s Aeneid and Georgics and to the feminine figure Dido as well as her subversive critique of white readers attracted to her adaptation of familiar classics. They also discuss Wheatley’s use of the Homeric Trojan horse and eighteenth-century verse to mask her ambitions for freedom and her treatment of the classics as political tools.
Engaging Wheatley’s multilayered texts with innovative approaches, the essays in the second section recontextualize her rich manuscripts and demonstrate how her late-eighteenth-century works remain both current and timeless. They ponder Wheatley’s verse within the framework of queer theory, the concepts of political theorist Hannah Arendt, rhetoric, African studies, eighteenth-century “salon culture,” and the theoretics of imagination.
Together, these essays reveal the depth of Phillis Wheatley’s literary achievement and present concrete evidence that her extant oeuvre merits still further scrutiny.
John C. Shields is Distinguished Professor of English at Illinois State University. He is the editor of The Collected Works of Phillis Wheatley and author of The American Aeneas: Classical Origins of the American Self, a Choice Outstanding Academic Book; Phillis Wheatley and the Romantics; and Phillis Wheatley’s Poetics of Liberation; and awarded honorable mention in competition for the American Comparative Literature Association’s Harry Levin Prize. As well, Shields serves as director of the Center for Classicism and American Culture and General Editor for the series of monographs on Classicism in American Culture to be published by the University of Tennessee Press.
Eric D. Lamore is an assistant professor of English at the University of Puerto Rico, Mayaguez, and a contributor to The Greenwood Encyclopedia of American Poets and Poetry.
Harold Schechter looks at the impossible tales and images of popular art--the space odysseys and extraterrestrial civilizations, the caped crusaders and men of steel, and monsters from the ocean floor--and finds close connections between religious myth and popular entertainment.
The problem Hilfer identifies is one of logical consistency, but also of moral and psychological implications, and it can be found operating across the whole spectrum of literary Theory. It is, however, as this book makes blindingly clear, not immune from scrutiny. With quiet erudition and consistent incisiveness, Hilfer shows how the various methods, while ostensibly at odds, actually fit together, all sharing the same peculiar structure and logic, and all wearing an identical set of ideological blinders. He offers examples of theorists-and assumptions-hard at work on particular texts, and again and again (often letting these theorists refute themselves) pinpoints the blindspots that have become endemic in the practice of Theory.
Written with great care and a deep commitment to the value and integrity of literary criticism and theory, this tonic work stands as a corrective to the misuse of theory, and a bracing reminder of how a critical approach works when it is well and judiciously applied.
Designed for the general reader, this splendid introduction to French literature from 842 A.D.—the date of the earliest surviving document in any Romance language—to the present decade is the most compact and imaginative single-volume guide available in English to the French literary tradition. In fact, no comparable work exists in either language. It is not the customary inventory of authors and titles but rather a collection of wide-angled views of historical and cultural phenomena. It sets before us writers, public figures, criminals, saints, and monarchs, as well as religious, cultural, and social revolutions. It gives us books, paintings, public monuments, even TV shows.
Written by 164 American and European specialists, the essays are introduced by date and arranged in chronological order, but here ends the book’s resemblance to the usual history of literature. Each date is followed by a headline evoking an event that indicates the chronological point of departure. Usually the event is literary—the publication of an original work, a journal, a translation, the first performance of a play, the death of an author—but some events are literary only in terms of their repercussions and resonances. Essays devoted to a genre exist alongside essays devoted to one book, institutions are presented side by side with literary movements, and large surveys appear next to detailed discussions of specific landmarks.
No article is limited to the “life and works” of a single author. Proust, for example, appears through various lenses: fleetingly, in 1701, apropos of Antoine Galland’s translation of The Thousand and One Nights; in 1898, in connection with the Dreyfus Affair; in 1905, on the occasion of the law on the separation of church and state; in 1911, in relation to Gide and their different treatments of homosexuality; and at his death in 1922.
Without attempting to cover every author, work, and cultural development since the Serments de Strasbourg in 842, this history succeeds in being both informative and critical about the more than 1,000 years it describes. The contributors offer us a chance to appreciate not only French culture but also the major critical positions in literary studies today. A New History of French Literature will be essential reading for all engaged in the study of French culture and for all who are interested in it. It is an authoritative, lively, and readable volume.
The revolutionary spirit that animates the culture of the Germans has been alive for at least twelve centuries, far longer than the dramatically fragmented and reshaped political entity known as Germany. German culture has been central to Europe, and it has contributed the transforming spirit of Lutheran religion, the technology of printing as a medium of democracy, the soulfulness of Romantic philosophy, the structure of higher education, and the tradition of liberal socialism to the essential character of modern American life.
In this book leading scholars and critics capture the spirit of this culture in some 200 original essays on events in German literary history. Rather than offering a single continuous narrative, the entries focus on a particular literary work, an event in the life of an author, a historical moment, a piece of music, a technological invention, even a theatrical or cinematic premiere. Together they give the reader a surprisingly unified sense of what it is that has allowed Meister Eckhart, Hildegard of Bingen, Luther, Kant, Goethe, Beethoven, Benjamin, Wittgenstein, Jelinek, and Sebald to provoke and enchant their readers. From the earliest magical charms and mythical sagas to the brilliance and desolation of 20th-century fiction, poetry, and film, this illuminating reference book invites readers to experience the full range of German literary culture and to investigate for themselves its disparate and unifying themes.
Contributors include: Amy M. Hollywood on medieval women mystics, Jan-Dirk Müller on Gutenberg, Marion Aptroot on the Yiddish Renaissance, Emery Snyder on the Baroque novel, J. B. Schneewind on Natural Law, Maria Tatar on the Grimm brothers, Arthur Danto on Hegel, Reinhold Brinkmann on Schubert, Anthony Grafton on Burckhardt, Stanley Corngold on Freud, Andreas Huyssen on Rilke, Greil Marcus on Dada, Eric Rentschler on Nazi cinema, Elisabeth Young-Bruehl on Hannah Arendt, Gordon A. Craig on Günter Grass, Edward Dimendberg on Holocaust memorials.
Major revisions in this widely used text include:
1. Larger typefaces for all Greek paradigms;
2. Greatly expanded vocabularies, both Greek-English and English-Greek;
3. New review exercises for each lesson in both Greek and English;
4. New appendices listing 75 irregular verbs with their principal parts and the prepositions with their meanings. At many points the expositions, notes, and lesson vocabularies are expanded and the English sentences revised.
More often than not, Michael Hoberman shows, Puritans thought and wrote about Jews in order to resolve their own theological and cultural dilemmas. A number of prominent New Englanders, including Roger Williams, Increase Mather, Samuel Sewall, Benjamin Colman, Cotton Mather, Jonathan Edwards, and Ezra Stiles, wrote extensively about post-biblical Jews, in some cases drawing on their own personal acquaintance with Jewish contemporaries.
Among the intriguing episodes that Hoberman investigates is the recruitment and conversion of Harvard's first permanent instructor of Hebrew, the Jewish-born Judah Monis. Later chapters describe the ecumenical friendship between Newport minister Ezra Stiles and Haim Carigal, an itinerant rabbi from Palestine, as well as the life and career of Moses Michael Hays, the prominent freemason who was Boston's first permanently established Jewish businessman, a founder of its insurance industry, an early sponsor of the Bank of Massachusetts, and a personal friend of Paul Revere.
America is a nation making itself up as it goes along—a story of discovery and invention unfolding in speeches and images, letters and poetry, unprecedented feats of scholarship and imagination. In these myriad, multiform, endlessly changing expressions of the American experience, the authors and editors of this volume find a new American history.
In more than two hundred original essays, A New Literary History of America brings together the nation’s many voices. From the first conception of a New World in the sixteenth century to the latest re-envisioning of that world in cartoons, television, science fiction, and hip hop, the book gives us a new, kaleidoscopic view of what “Made in America” means. Literature, music, film, art, history, science, philosophy, political rhetoric—cultural creations of every kind appear in relation to each other, and to the time and place that give them shape.
The meeting of minds is extraordinary as T. J. Clark writes on Jackson Pollock, Paul Muldoon on Carl Sandburg, Camille Paglia on Tennessee Williams, Sarah Vowell on Grant Wood’s American Gothic, Walter Mosley on hard-boiled detective fiction, Jonathan Lethem on Thomas Edison, Gerald Early on Tarzan, Bharati Mukherjee on The Scarlet Letter, Gish Jen on Catcher in the Rye, and Ishmael Reed on Huckleberry Finn. From Anne Bradstreet and John Winthrop to Philip Roth and Toni Morrison, from Alexander Graham Bell and Stephen Foster to Alcoholics Anonymous, Life, Chuck Berry, Alfred Hitchcock, and Ronald Reagan, this is America singing, celebrating itself, and becoming something altogether different, plural, singular, new.
Literature, from the Chinese perspective, makes manifest the cosmic patterns that shape and complete the world—a process of “worlding” that is much more than mere representation. In that spirit, A New Literary History of Modern China looks beyond state-sanctioned works and official narratives to reveal China as it has seldom been seen before, through a rich spectrum of writings covering Chinese literature from the late-seventeenth century to the present.
Featuring over 140 Chinese and non-Chinese contributors from throughout the world, this landmark volume explores unconventional forms as well as traditional genres—pop song lyrics and presidential speeches, political treatises and prison-house jottings, to name just a few. Major figures such as Lu Xun, Shen Congwen, Eileen Chang, and Mo Yan appear in a new light, while lesser-known works illuminate turning points in recent history with unexpected clarity and force. Many essays emphasize Chinese authors’ influence on foreign writers as well as China’s receptivity to outside literary influences. Contemporary works that engage with ethnic minorities and environmental issues take their place in the critical discussion, alongside writers who embraced Chinese traditions and others who resisted. Writers’ assessments of the popularity of translated foreign-language classics and avant-garde subjects refute the notion of China as an insular and inward-looking culture.
A vibrant collection of contrasting voices and points of view, A New Literary History of Modern China is essential reading for anyone seeking a deeper understanding of China’s literary and cultural legacy.
New texts from Greek antiquity continue to emerge on scraps of papyrus from the sands of Egypt, not only adding to the surviving corpus of classical and Hellenistic literature, but also occasionally offering a glimpse into how these poems were studied in antiquity. New Literary Papyri from the Michigan Collection: Mythographic Lyric and a Catalogue of Poetic First Lines presents three such new texts: an innovative lyric poem on the Trojan cycle, a scholarly anthology of lyric verses, and a brief but enigmatic third text. Cassandra Borges and C. Michael Sampson offer the original Greek text of these pieces, along with their scholarly commentary, analyzing their features in a variety of contexts—historical, cultural, poetic, mythological, religious, and scholarly.
The fragments collected here are of considerable antiquity (late third to second century BCE) a fact that is significant inasmuch as it places them among the oldest Greek papyri, but all the more so because in this period, a scholarly community was thriving in Ptolemaic Alexandria, the political and cultural capital of Hellenistic Egypt. The fragments bear witness to that scholarly activity: not only is their anthology of poetic verses consistent with other scholarly selections, but the very survival of these texts may well be at least partially indebted to the work of the Alexandrians in studying and propagating Greek literature in Egypt.
This edition supplements the 1970s work of Reinhold Merkelbach and Denys Page. Recent digitizing for the APIS project revealed a previously unsuspected join with other material, however, which alone warrants a new, comprehensive edition and analysis.
Henderson’s brilliant exploration borrows from the form of one of the oldest and most widely known sources of wonder: maps. Large, detailed mappae mundi invited people in medieval Europe to vividly imagine places and possibilities they had never seen before: manticores with the head of a man, the body of a lion, and the stinging tail of a scorpion; tribes of one-eyed men who fought griffins for diamonds; and fearsome Scythian warriors who drank the blood of their enemies from their skulls. As outlandish as these maps and the stories that went with them sound to us today, Henderson argues that our views of the world today are sometimes no less incomplete or misleading. Scientists are only beginning to map the human brain, for example, revealing it as vastly more complex than any computer we can conceive. Our current understanding of physical reality is woefully incomplete. A New Map of Wonders explores these and other realms of the wonderful, in different times and cultures and in the present day, taking readers from Aboriginal Australian landscapes to sacred sites in Great Britain, all the while keeping sight questions such as the cognitive basis of wonder and the relationship between wonder and science.
Beautifully illustrated and written with wit and moral complexity, this sequel to The Book of Barely Imagined Beings is a fascinating account of the power of wonder and an unforgettable meditation on its importance to our future.
Coole and Frost argue that contemporary economic, environmental, geopolitical, and technological developments demand new accounts of nature, agency, and social and political relationships; modes of inquiry that privilege consciousness and subjectivity are not adequate to the task. New materialist philosophies are needed to do justice to the complexities of twenty-first-century biopolitics and political economy, because they raise fundamental questions about the place of embodied humans in a material world and the ways that we produce, reproduce, and consume our material environment.
Contributors
Sara Ahmed
Jane Bennett
Rosi Braidotti
Pheng Cheah
Rey Chow
William E. Connolly
Diana Coole
Jason Edwards
Samantha Frost
Elizabeth Grosz
Sonia Kruks
Melissa A. Orlie
In this groundbreaking historical study, Gabriel A. Briggs makes the compelling case that the New Negro first emerged long before the Great Migration to the North. The New Negro in the Old South reconstructs the vibrant black community that developed in Nashville after the Civil War, demonstrating how it played a pivotal role in shaping the economic, intellectual, social, and political lives of African Americans in subsequent decades. Drawing from extensive archival research, Briggs investigates what made Nashville so unique and reveals how it served as a formative environment for major black intellectuals like Sutton Griggs and W.E.B. Du Bois.
The New Negro in the Old South makes the past come alive as it vividly recounts little-remembered episodes in black history, from the migration of Colored Infantry veterans in the late 1860s to the Fisk University protests of 1925. Along the way, it gives readers a new appreciation for the sophistication, determination, and bravery of African Americans in the decades between the Civil War and the Harlem Renaissance.
Plato’s unusual combination of argumentative and creative talents complicates any interpretative approach to his work, as does his choice of Socrates as a major figure. In recent years, scholars have looked more closely at the philosophical importance of the imaginative and literary aspects of Plato’s writing, and have begun to appreciate the methods of the ancient philosophers and commentators who studied Plato and their attitudes to Plato’s appropriation of Socrates.
This study brings together leading philosophical and literary scholars who investigate these new–old approaches and their significance in distancing us from the standard ways of reading Plato. Confronting the standard modern readings more directly, this work attempts to present the outcomes of these investigations to readers in a way that will encourage further exploration and innovative engagement.
In New Perspectiveson the Irish Diaspora, Charles Fanning incorporates eighteen fresh perspectives on the Irish diaspora over three centuries and around the globe. He enlists scholarly tools from the disciplines of history, sociology, literary criticism, folklore, and culture studies to present a collection of writings about the Irish diaspora of great variety and depth.
This collection of twenty-nine essays represents a summation of Kostelanetz’s thoughts on poetry since the publication of his earlier work The Old Poetries and the New.
In sections on “The New Poetries,” “Some Old,” and “Autobiographical Addenda,” the essays range from sketches of Kenneth Burke, John Berryman, and Northrop Frye through considerations of the latest sound-text poetry to Kostelanetz’s justification of his own work. These pieces reflect Kostelanetz’s ongoing commitment to the esthetics he ascribes to high modernism—innovation, abstraction, intelligence, and complexity in all the arts.
A manifesto for the humanities in the digital age, A New Republic of Letters argues that the history of texts, together with the methods by which they are preserved and made available for interpretation, are the overriding subjects of humanist study in the twenty-first century. Theory and philosophy, which have grounded the humanities for decades, no longer suffice as an intellectual framework. Jerome McGann proposes we look instead to philology—a discipline which has been out of fashion for many decades but which models the concerns of digital humanities with surprising fidelity.
For centuries, books have been the best way to preserve and transmit knowledge. But as libraries and museums digitize their archives and readers abandon paperbacks for tablet computers, digital media are replacing books as the repository of cultural memory. While both the mission of the humanities and its traditional modes of scholarship and critical study are the same, the digital environment is driving disciplines to work with new tools that require major, and often very difficult, institutional changes. Now more than ever, scholars need to recover the theory and method of philological investigation if the humanities are to meet their perennial commitments. Textual and editorial scholarship, often marginalized as a narrowly technical domain, should be made a priority of humanists’ attention.
Albanese reads the inaugurators of the scientific revolution against the canonical authors of early modern literature, discussing Galileo’s Dialogue on the Two Chief World Systems and Bacon’s New Atlantis as well as Milton’s Paradise Lost and Shakespeare’s The Tempest. She examines how the newness or “novelty” of investigating nature is expressed through representations of the New World, including the native, the feminine, the body, and the heavens. “New” is therefore shown to be a double sign, referring both to the excitement associated with a knowledge oriented away from past practices, and to the oppression and domination typical of the colonialist enterprise. Exploring the connections between the New World and the New Science, and the simultaneously emerging patterns of thought and forms of writing characteristic of modernity, Albanese insists that science is at its inception a form of power-knowledge, and that the modern and postmodern division of “Two Cultures,” the literary and the scientific, has its antecedents in the early modern world.
New Science, New World makes an important contribution to feminist, new historicist, and cultural materialist debates about the extent to which the culture of seventeenth-century England is proto-modern. It will offer scholars and students from a wide range of fields a new critical model for historical practice.
The first edition of May’s Short Story Theories (1976) opened with an essay entitled “The Short Story: An Underrated Art.” Almost two decades later, the short story suffers no such slight. Publishers and critics have become increasingly interested in the form, which has enjoyed a renaissance led by such writers as Raymond Carver, Tobias Wolff, Ann Beattie, Bobbie Ann Mason, and Mary Robison. An important part of this revival of interest, Short Story Theories has continued to attract a strong and loyal audience among students and teachers.
The New Short Story Theories includes a few basic pieces from the earlier volume—Poe’s Hawthorne review, Brander Matthew’s extension and formalization of Poe’s theories, and essays by Randall Jarrell, Elizabeth Bowen, and Nadine Gordimer—but most of the essays are new to the collection.
Addressing problems of definition, historical considerations, issues of technique, and cognitive approaches, essays include:
“The Tale as Genre in Short Story Fiction,” by W. S. Penn
“O. Henry and the Theory of the Short Story,” by Suzanne C. Ferguson
“On Writing,” by Raymond Carver
“From Tale to Short Story,” by Robert F. Marler
“A Cognitive Approach to Storyness,” by Susan Lohafer
May’s new collection will continue to highlight the short story, to provoke debate, and to enrich our experience of a demanding and rewarding literary form.
The first volume of the series, New Technologies and Renaissance Studies, presents a collection of contributions to one ongoing forum for the dialogue which lies at the heart of the book series, the annual "conference within a conference" of the same name which takes place during the Renaissance Society of America gathering, dedicated specifically to the intersection of computational methods and Renaissance studies. Papers in this volume exemplify those fruitful and productive exchanges, from their inception at the 2001 meeting in Chicago to the 2005 meeting in Cambridge.
In the fourth volume of the New Technologies in Medieval and Renaissance Studies series, volume editors Tassie Gniady, Kris McAbee, and Jessica Murphy bring together some of the best work from the New Technologies in Medieval and Renaissance Studies panels at the Renaissance Society of America (RSA) annual meetings for the years 2004–2010. These essays demonstrate a dedication to grounding the use of “newest” practices in the theories of the early modern period. At the same time, the essays are interested in the moment—the needs of scholars then, the theories of media that informed current understanding, and the tools used to conduct studies.
Amid gloomy forecasts of the decline of the humanities and the death of poetry, Angus Fletcher, a wise and dedicated literary voice, sounds a note of powerful, tempered optimism. He lays out a fresh approach to American poetry at large, the first in several decades, expounding a defense of the art that will resonate well into the new century.
Breaking with the tired habit of treating American poets as the happy or rebellious children of European romanticism, Fletcher uncovers a distinct lineage for American poetry. His point of departure is the fascinating English writer, John Clare; he then centers on the radically American vision expressed by Emerson and Walt Whitman. With Whitman this book insists that "the whole theory and nature of poetry" needs inspiration from science if it is to achieve a truly democratic vista. Drawing variously on Complexity Theory and on fundamentals of art and grammar, Fletcher argues that our finest poetry is nature-based, environmentally shaped, and descriptive in aim, enabling poets like John Ashbery and other contemporaries to discover a mysterious pragmatism.
Intense, resonant, and deeply literary, this account of an American poetics shows how today's consumerist and conformist culture subverts the imagination of a free people. While centering on American vision, the argument extends our horizon, striking a blow against all economically sanctioned attacks upon the finer, stronger human capacities. Poetry, the author maintains, is central to any coherent vision of life.
Drawing from and reworking Gothic conventions, the New Woman version is marshaled during a tumultuous cultural moment of gender anxiety either to defend or revile the complex character. The controversial and compelling figure of the New Woman in fin de siècle British fiction has garnered extensive scholarly attention, but rarely has she been investigated through the lens of the Gothic.
Part I, “The Blurred Boundary,” examines an obfuscated distinction between the New Woman and the prostitute, presented in a stunning breadth and array of writings. Part II, “Reconfigured Conventions,” probes four key aspects of the Gothic, each of which is reshaped to reflect the exigencies of the fin de siècle. In Part III, “Villainous Characters,” the bad father of Romantic fiction is bifurcated into the husband and the mother, both of whom cause great suffering to the protagonist.
The book is the first to identify the process by which medical sources simplified the diversity of trans feminine experience into a single diagnostic narrative. It then demonstrates that this medical figure became an archetype for the "sexual anarchy" of the Modernist period in works by Aldous Huxley, James Joyce, Djuna Barnes, T. S. Eliot, and Jean Genet.
Thus illuminating the trans feminine's Modernist provenance, the book examines foundational works of Queer Theory that resuscitated the trans feminine allegory at the end of the twentieth century. Insightful and seminal, The New Woman debunks the pervasive reflex beginning in the 1990s to connect trans experience to a late twentieth-century collapse of sexual differences by revealing the Modernist roots of that very formulation.
Edited by the nation's most respected senior Dostoevsky scholar, this collection brings together original work by notable writers of varying backgrounds and interests. While drawing on Dostoevsky's other fiction, journalism, and correspondence, the writing of his contemporaries, the state of Russian culture to illuminate the unfolding novel--these essays also make use of new fields of scholarship, such as cognitive psychology, as well as recent theoretical approaches and critical insights. The authors propose readings remarkable for their attentiveness to detail, relatively peripheral characters, and heretofore overlooked incidents, passages, or fragments of dialogue. Some contributors suggest readings so new that they are subvert our usual modes of approaching this novel; all reflect the immediacy of adventuresome, informed encounters with Dostoevsky's final novel. Treating The Brothers Karamazov in terms of a broad range of genres (poetry, narrative, parody, confession, detective fiction) and discourses (medical, scientific, sexual, judicial, philosophical, and theological), these essays embody on a critical and analytic level a search for coherence, meaning, and harmony that continues to animate Dostoevsky's novel in our day.
Audiences in London eagerly watched the royal slave, Oroonoko, tortured on stage, while audiences in Charleston and Kingston were forbidden from watching the same scene. Audiences in Kingston and New York City exuberantly participated in the slaying of Richard III on stage, enacting the rise of the "people," and Native American leaders were enjoined to watch actors in blackface "jump Jim Crow." Dillon argues that the theater served as a "performative commons," staging debates over representation in a political world based on popular sovereignty. Her book is a capacious account of performance, aesthetics, and modernity in the eighteenth-century Atlantic world.
Through original research and close readings alert to the foreign prosody underlying Hughes’s work, New World Maker recuperates his political writing, which had been widely maligned by Cold War detractors and adherents of New Criticism, and affirms his place as a progenitor of African diasporic literature and within the pantheon of US modernists. Demonstrating the integral part translation played in Hughes’s creative process, this book challenges a number of common assumptions about this canonical thinker and offers important insights for scholars of African diasporic literature, comparative literature, and American, Caribbean, and translation studies.
As New York and Paris began to modernize, new modes of entertainment, such as panoramas, dioramas, and photography, seemed poised to take the place of the more complex forms of literary expression. Dioramas and photography were invented in Paris but soon spread to America, forming part of an increasingly universal idiom of the spectacle. This brave new world of technologically advanced but crudely mimetic spectacles haunts both Whitman's vision of New York and Baudelaire's view of Paris. In New York-Paris, Katsaros explores the images of the mid-nineteenth-century city in the poetry of both Whitman and Baudelaire and seeks to demonstrate that, by projecting an image of the other's city onto his own, each poet tried to resist the apparently irresistible forward momentum of modernity rather than create a paradigmatically happy mixture of "high" and "low" culture.
The News from Poems brings together newly commissioned essays by eminent poets and scholars of poetry and serves as a companion volume to an earlier anthology of engaged poetry compiled by the editors. Essays by Bob Perelman, Steven Gould Axelrod, Tony Hoagland, Eleanor Wilner, and others reveal how recent poetry has redefined our ideas of politics, authorship, identity, and poetics.
The volume showcases the diversity of contemporary American poetry, discussing mainstream and experimental poets, including some whose work has sparked significant controversy. These and other poets of our time, the volume suggests, are engaged not only with public events and topics but also with new ways of imagining subjectivity, otherness, and poetry itself.
This new and annotated edition of A Nickel and a Prayer includes the final chapter, “Fireside Musings,” that Hunter added to the second, limited printing of her autobiography and an introduction that lauds her as a multifaceted social activist who not only engaged in racial uplift work, but impacted African American cultural production, increased higher education opportunities for women, and invigorated African American philanthropy. This important text restores Jane Edna Harris Hunter to her rightful place among prominent African American race leaders of the twentieth century.
Antiquity’s most influential account of life’s Supreme Good.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.
Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:
I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.
The Loeb Classical Library edition of Aristotle is in twenty-three volumes.
"The book and not the title is the thing," James Weldon Johnson insisted with regard to Nigger Heaven, and the book is indeed a nuanced and vibrant portrait of "the great black walled city" of Harlem. Opening on a scene of tawdry sensationalism, Nigger Heaven shifts decisively to a world of black middle-class respectability, defined by intellectual values, professional ambition, and an acute consciousness of class and racial identity.
Here is a Harlem where upper-class elites discuss art in well-appointed drawing rooms; rowdy and lascivious drunks spend long nights in jazz clubs and speakeasies; and politically conscious young intellectuals drink coffee and debate "the race problem" in walk-up apartments. At the center of the story, two young people--a quiet, serious librarian and a volatile aspiring writer--struggle to love each other as their dreams are slowly suffocated by racism.
This reissue is based on the seventh printing, which included poetry composed by Langston Hughes especially for the book. Kathleen Pfeiffer's astute introduction investigates the controversy surrounding the shocking title and shows how the novel functioned in its time as a site to contest racial violence. She also signals questions of racial authenticity and racial identity raised by a novel about black culture written by a white admirer of that culture.
Though steeped in history, his stories pluck from obscurity the little people history ignores—and, in the Soviet Union of Stalin, often crushed. In the complex "Captain Dikshtein," a fictional account of an incident in the 1921 Kronstad, Kuraev evokes life within Soviet military culture and draws a vivid, difficult portrait of one particular life amid the ships and artillery. In "Night Patrol," a lowly member of the Soviet secret police narrates his evening rounds, interspersing the nightly arrests with reflections on his long career in the KGB. In "Petya on His Way to the Heavenly Kingdom," set in a construction site for a hydroelectric dam near Murmansk, a soldier’s murder of the village simpleton resonates through a small community committed to an enormous and enormously dubious technological project. Ranging over a broad landscape of historical foibles, Kuraev’s sympathetic wit and satiric brilliance have invited comparison to Gogol, but are finally unique. In this book, English-reading audiences will discover a new and challenging voice in a tradition that has given the world some of its greatest stories.
Wilson models a practice of reading that honors the disruptive possibilities offered by an ever-present awareness of that which lies, irretrievable, beyond the horizon of vanishing itself. In doing so, he engages with historical accounts detailing maroon activities in early New Spain, contemporary coverage of the push to make legible Afro-Mexican identities, the electronic archives of the Obama presidency, and the work of Carlos de Sigüenza y Góngora, Octavio Paz, Ivan Van Sertima, Miguel Covarrubias, Steven Spielberg, and Colson Whitehead, among others.
No other writer captured the fraught relations between Ukrainian and Russian nationalisms with as much complexity and lasting relevance as Nikolai Gogol. This pathbreaking book illuminates the deep cultural stakes of today’s geopolitical conflict.
The nineteenth-century author Nikolai Gogol occupies a key place in the Russian cultural pantheon as an ardent champion of Russian nationalism. Indeed, he created the nation’s most famous literary icon: Russia as a rushing carriage, full of elemental energy and limitless potential.
In a pathbreaking book, Edyta M. Bojanowska topples the foundations of this russocentric myth of the Ukrainian-born writer, a myth that has also dominated his Western image. She reveals Gogol’s creative engagement with Ukrainian nationalism and calls attention to the subversive irony and ambiguity in his writings on Russian themes. While in early writings Gogol endowed Ukraine with cultural wholeness and a heroic past, his Russia appears bleak and fractured. Russian readers resented this unflattering contrast and called upon him to produce a brighter vision of Russia. Gogol struggled to satisfy their demands but ultimately failed.
In exploring Gogol’s fluctuating nationalist commitments, this book traces the connections and tensions between the Russian and Ukrainian nationalist paradigms in his work, and situates both in the larger imperial context. In addition to radically new interpretations of Gogol’s texts, Bojanowska offers a comprehensive analysis of his reception by contemporaries.
Brilliantly conceived and masterfully argued, Edyta Bojanowska fundamentally changes our understanding of this beloved author and his place in Russian literature.
Nikolai Klyuev is the first book in English to examine the life and work of this enigmatic poet. Klyuev (1884–1937) rose to prominence in the early twentieth century as the first of the so-called "new peasant poets" but later fell victim to Stalinist hostility to both his cultural ideology and his homosexuality. He was arrested and exiled in 1933, then shot in 1937.
Klyuev’s work incorporates rich elements of folklore, mysticism, politics, and religion, and he sometimes invokes arcane Russian syntax and vocabulary. Makin’s feat is particularly notable because Klyuev was often elusive in his own accounts of his life, and Makin successfully brings into focus the poet’s deliberate strategies of self-mythologization. Nikolai Klyuev is an indispensable guide to the life and the work of an important poet winning wider recognition outside of Russia.
--Harold Bloom, Genius
" . . . a truly literary study in the largest, most humane, sense. Instead of subjecting poems to the distortions of theory, it brings biography, theology, psychology, and cultural history to bear on the intricacies of language, where all the issues of the poet's life and work converge, contend, and seek resolution."
--Albert Gelpi, American Literature
" . . . insightful readings of many of Dickinson's difficult poems and . . . a significant contribution to Dickinson studies."
---Choice
"McIntosh shows the power of Dickinson's religious quest in word, in verse, and in truth. He shows that she was much more than an ever-adolescent angry rebel trying to subvert the religious oppression of benighted Amherst neighbors."
---Emily Dickinson Journal
The Chadian writer Nimrod—philosopher, poet, novelist, and essayist—is one of the most dynamic and vital voices in contemporary African literature and thought. Yet little of Nimrod’s writing has been translated into English until now. Introductory material by Frieda Ekotto provides context for Nimrod’s work and demonstrates the urgency of making it available beyond Francophone Africa to a broader global audience.
At the heart of this volume are Nimrod’s essays on Léopold Sédar Senghor, a key figure in the literary and aesthetic Négritude movement of the 1930s and president of Senegal from 1945 through 1980. Widely dismissed in recent decades as problematically essentialist, Senghorian Negritude articulated notions of “blackness” as a way of transcending deep divisions across a Black Diaspora under French colonial rule. Nimrod offers a nuanced reading of Senghor, drawing out the full complexities of Senghor’s philosophy and reevaluating how race and colonialism function in a French-speaking space.
Also included in this volume are Nimrod’s essays on literature from the 2008 collection, The New French Matter (La nouvelle chose française). Representing his prose fiction is his 2010 work, Rivers’ Gold (L’or des rivières). Also featured are some of Nimrod’s best-loved poems, in both English translation and the original French.
The works selected and translated for this volume showcase Nimrod’s versatility, his intellectual liveliness, and his exploration of questions of aesthetics in African literature, philosophy, and linguistics. Nimrod: Selected Writings marks a significant contribution toward engaging a broader audience with one of the vital voices of our time. This book will be essential reading for Anglophone students and scholars of African philosophy, literature, poetry, and critical theory, and will offer a welcome introduction to Nimrod for general readers of contemporary international writing.
The nineteenth century was a time of unprecedented discovery and exploration throughout the globe, a period when the “blank spaces” of the earth were systematically investigated, occupied, and exploited by the major imperial powers of Western Europe and the United States. The lived experience of space was also changing in dramatic ways for people as a result of new developments in technology, communication, and transportation. As a result, the century was characterized by a new and intense interest in place, both local and global.
The collection is comprised of seventeen essays from various disciplines organized into four areas of geographic concern. The first, “Time Zones,” examines several ways that place gets expressed as time during the period, how geography becomes history. A second grouping, “Commodities and Exchanges,” explores the role of geographic origin as it was embodied in particular objects, from the souvenir map to imported tea. The set of essays on “Domestic Fronts” moves the discussion from the public to the private sphere by looking at how domestic space became defined in terms of its boundary with the foreign. The final section, “Orientations,” takes up the changing relations of bodies, identities, and the spaces they inhabit and through which they moved. The collection as a whole also traces the development of the discipline of geography with its different institutional and political trajectories in the United States and Great Britain.
A marginalized but persistent figure of Greek tragedy, Niobe, whose many children were killed by Apollo and Artemis, embodies yet problematizes the philosophically charged dialectics between life and death, mourning and melancholy, animation and inanimation, silence and logos. The essays in Niobes present her as a set of complex figurations, an elusive mythical character but also an overdetermined figure who has long exerted a profound influence on various modes of modern thought, especially in the domains of aesthetics, ethics, psychoanalysis, and politics. As a symbol of both exclusion and resistance, Niobe calls for critical attention at a time of global crisis.
Reconstructing the dialogues of Phillis Wheatley, G. W. F. Hegel, Walter Benjamin, Aby Warburg, and others with Niobe as she appears in Aeschylus, Sophocles, Ovid, and the visual arts, a collective of major thinkers—classicists, art historians, and critical theorists—reflect on the space that she can occupy in the humanities today. Inspiring new ways of connecting the classical tradition and ancient tragic discourse with crises and political questions relating to gender, race, and social justice, Niobe insists on living on.
Contributors:
Barbara Baert, Andrew Benjamin, drea brown, Adriana Cavarero, Rebecca Comay, Mildred Galland-Szymkowiak, John T. Hamilton, Paul A. Kottman, Jacques Lezra, Andres Matlock, Ben Radcliffe, Victoria Rimell, Mario Telò, Mathura Umachandran, Daniel Villegas Vélez
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