A SCHOLARLY BOOK REPOSITORY
When Nero took the stage, the audience played along--or else. The drama thus enacted, whether in the theater proper or in the political arena, unfolds in all its rich complexity in Actors in the Audience. This is a book about language, theatricality, and empire--about how the Roman emperor dramatized his rule and how his subordinates in turn staged their response. The focus is on Nero: his performances onstage spurred his contemporaries to reflect on the nature of power and representation, and to make the stage a paradigm for larger questions about the theatricality of power. Through these portrayals by ancient writers, Shadi Bartsch explores what happens to language and representation when all discourse is distorted by the pull of an autocratic authority.
Some Roman senators, forced to become actors and dissimulators under the scrutinizing eye of the ruler, portrayed themselves and their class as the victims of regimes that are, for us, redolent of Stalinism. Other writers claimed that doublespeak--saying one thing and meaning two--was the way one could, and did, undo the constraining effects of imperial oppression. Tacitus, Suetonius, and Juvenal all figure in Bartsch's shrewd analysis of historical and literary responses to the brute facts of empire; even the Panegyricus of Pliny the Younger now appears as a reaction against the widespread awareness of dissimulation. Informed by theories of dramaturgy, sociology, new historicism, and cultural criticism, this close reading of literary and historical texts gives us a new perspective on the politics of the Roman empire--and on the languages and representation of power.
Challenging the universalizing tendencies of postcolonial theory as it has developed in the Anglophone academy, the contributors are attentive to the crucial ways in which the histories of Latin American countries—with their creole elites, hybrid middle classes, subordinated ethnic groups, and complicated historical relationships with Spain and the United States—differ from those of other former colonies in the southern hemisphere. Yet, while acknowledging such differences, the volume suggests a host of provocative, critical connections to colonial and postcolonial histories around the world.
Contributors
Thomas Abercrombie
Shahid Amin
Jorge Cañizares-Esguerra
Peter Guardino
Andrés Guerrero
Marixa Lasso
Javier Morillo-Alicea
Joanne Rappaport
Mauricio Tenorio-Trillo
Mark Thurner
At the same time, Cohen enters into the theoretical discussion about postmodern historical understanding. Throwing his hat in the ring with force and style, he confronts not only Francis Fukuyama’s triumphalist response to the fall of the Soviet Union but also the other literary and political “end of history” claims put forth by such theorists as Fredric Jameson and Walter Benn Michaels. In a straightforward, affecting style, After the End of History offers us a new vision for the capabilities and confines of contemporary fiction.
In our world of sophisticated literary theory and cliometrics, the gap between literature and history, between literary scholars and historians, has at times seemed to be widening. Drawing on essays written over the course of a distinguished teaching career, Lionel Gossman illuminates the many facets of the problematic relationship between history and literature and shows how each discipline both challenges and undermines the other's absolutist pretensions.
In his first chapters Gossman underlines the historicity of the very category of literature and explores the political and social implications of the notions we have of it. Literature emerges as something whose meaning and content are not as self-evident as we think; instead, what is designated by the term literature is defined by a larger cultural structure that is constantly changing. Gossman then turns to the interweaving of history and literature in historical writing itself, showing how literary narratives, philosophy, and politics are inextricably bound up in the texts of two major Romantic historians, Augustin Thierry and Jules Michelet. Seeing ourselves in relation to our Romantic predecessors--set out sympathetically and fully here by Gossman--should cause us to reflect on the current disjunction between literature and history and to try to imagine new ways in which one practice may assist and enrich the other. The final chapters deal directly with the question of the relationship between history and literature, both historically and as a contemporary problem. The last essay in particular addresses the twin issues of the place of narrative in historiography and the alleged incommensurability of historical narratives.
Gossman's detailed inquiries into the work of the Romantic historians and his thoughtful reflections on his own assumptions and practices as a scholar exemplify the highest ideals of humanistic scholarship. This eloquent and erudite work challenges us to rethink our notions about literature and history while enriching our understanding of both disciplines.
The Texas Centennial of 1936, commemorated by statewide celebrations of independence from Mexico, proved to be a powerful catalyst for the formation of a distinctly Mexican American identity. Confronted by a media frenzy that vilified "Meskins" as the antithesis of Texan liberty, Mexican Americans created literary responses that critiqued these racialized representations while forging a new bilingual, bicultural community within the United States. The development of a modern Tejana identity, controversies surrounding bicultural nationalism, and other conflictual aspects of the transformation from mexicano to Mexican American are explored in this study. Capturing this fascinating aesthetic and political rebirth, Border Renaissance presents innovative readings of important novels by María Elena Zamora O'Shea, Américo Paredes, and Jovita González. In addition, the previously overlooked literary texts by members of the League of United Latin American Citizens (LULAC) are given their first detailed consideration in this compelling work of intellectual and literary history.
Drawing on extensive archival research in the English and Spanish languages, John Morán González revisits the 1930s as a crucial decade for the vibrant Mexican American reclamation of Texas history. Border Renaissance pays tribute to this vital turning point in the Mexican American struggle for civil rights.
Caliban's Curse draws upon a range of theories--postcolonial, Marxist, and feminist--to contextualize the black diaspora of the modern Caribbean through one of its primary anglophone novelists. Putting George Lamming in conversation with such contemporaries as C.L.R. James, Derek Walcott, and Wilson Harris, Nair argues that Lamming's works expand the protest of Shakespeare's Caliban to articulate a reinvention of Caribbean cultures. Both cursed by and cursing the weight of colonial history, Lamming works against the paralysis induced by such an encounter; his work serves to rewrite canonical icons and to reimagine popular cultures.
"Supriya Nair writes about the problems of history and social revolution with passion and clarity and an amazing range of critical and cultural reference. . . . She brings to existing studies of Lamming a wide and sustained knowledge of the forces that have shaped the West Indian novel, and the wider postcolonial debates in which these novels are read and discussed." --Simon Gikandi, University of Michigan
Supriya Nair is Associate Professor of English, Tulane University.
Can the novel survive in an age when tales of historical figures and contemporary personalities dominate the reading lists of the book-buying public?
Naomi Jacobs addresses this question in a study of writers such as William Styron, E. L. Doctorow, and Robert Coover, who challenge the dominance of nonfiction by populating their fictions with real people, living and dead. Jacobs explores the genesis, varieties, and implications of this trend in a prose as lively as that of the writers she critiques.
Using as a case study Robert Coover’s portrait of Richard Nixon in The Public Burning, Jacobs addresses the important legal and ethical questions raised by this trend and applies contemporary libel law to the fictionalization of living people, such as Richard Nixon. She closes her study by speculating on the future of this device and of the novel.
Offering a unique perspective on the very notions and practices of storytelling, history, memory, and language, Clio’s Laws collects ten essays (some new and some previously published in Spanish) by a revered voice in global history. Taking its title from the Greek muse of history, this opus considers issues related to the historian’s craft, including nationalism and identity, and draws on Tenorio-Trillo’s own lifetime of experiences as a historian with deep roots in both Mexico and the United States. By turns deeply ironic, provocative, and experimental, and covering topics both lowbrow and highbrow, the essays form a dialogue with Clio about idiosyncratic yet profound matters.
Tenorio-Trillo presents his own version of an ars historica (what history is, why we write it, and how we abuse it) alongside a very personal essay on the relationship between poetry and history. Other selections include an exploration of the effects of a historian’s autobiography, a critique of history’s celebratory obsession, and a guide to reading history in an era of internet searches and too many books. A self-described exile, Tenorio-Trillo has produced a singular tour of the historical imagination and its universal traits.
Latin American intellectuals have traditionally debated their region’s history, never with so much agreement as in the fiction, commentary, and scholarship of the late twentieth century. Collisions with History shows how “fictional histories” of discovery and conquest, independence and early nationhood, and the recent authoritarian past were purposeful revisionist collisions with received national versions. These collisions occurred only because of El Boom, thus making Latin America’s greatest literary movement a historical phenomenon as well. Frederick M. Nunn discusses the cataclysmic view of history conveyed in Boom novels and examines the thought and self-perception of selected authors whose political activism enhanced the appeal of their works—historical and otherwise: Alejo Carpentier, Carlos Fuentes, Gabriel García Márquez, and Augusto Roa Bastos; Julio Cortázar, Isabel Allende, Mario Vargas Llosa, and Darcy Ribeiro.
Collisions with History demonstrates how their commentary on history, literature, politics, and international affairs reveals a conscious sense of purpose. From between the lines of their nonfiction emerges a consensus that outside forces have defined as well as controlled Latin America’s history.
Professor Nunn also suggests that, with novelists now no longer very interested in colliding with history, it may fall to social scientists to speak for what remains of the region’s past in the New World Order.
Scott explores the political and epistemological implications of how the past is conceived in relation to the present and future through a reconsideration of C. L. R. James’s masterpiece of anticolonial history, The Black Jacobins, first published in 1938. In that book, James told the story of Toussaint L’Ouverture and the making of the Haitian Revolution as one of romantic vindication. In the second edition, published in the United States in 1963, James inserted new material suggesting that that story might usefully be told as tragedy. Scott uses James’s recasting of The Black Jacobins to compare the relative yields of romance and tragedy. In an epilogue, he juxtaposes James’s thinking about tragedy, history, and revolution with Hannah Arendt’s in On Revolution. He contrasts their uses of tragedy as a means of situating the past in relation to the present in order to derive a politics for a possible future.
Topics include: Ellis Peter’s Brother Cadfael; Umberto Eco’s Name of the Rose; Susanna Gregory’s Doctor Matthew Bartholomew; Peter Heck’s Mark Twain as detective; Anne Perry and her Victorian-era world; Caleb Carr’s works; and Elizabeth Peter’s Egyptologist-adventurer tales.
From the Chicago Conspiracy Trial and the O. J. Simpson trial to the Clarence Thomas/Anita Hill congressional hearings, legal and legislative proceedings in the latter part of the twentieth-century kept Americans spellbound. Situated on the shifting border between imagination and the law, trial plays edit, arrange, and reproduce court records, media coverage, and first-person interviews, transforming these elements into a performance. In this first book-length critical study of contemporary American documentary theater, Jacqueline O’Connor examines in depth ten such plays, all written and staged since 1970, and considers the role of the genre in re-creating and revising narratives of significant conflicts in contemporary history.
Documentary theater, she shows, is a particularly appropriate and widely utilized theatrical form for engaging in debate about tensions between civil rights and institutional power, the inconsistency of justice, and challenges to gender norms. For each of the plays discussed, including The Trial of the Catonsville Nine, Unquestioned Integrity: The Hill/Thomas Hearings, and The Laramie Project, O'Connor provides historical context and a brief production history before considering the trial the play focuses on. Grouping plays historically and thematically, she demonstrates how dramatic representation advances our understanding of the law's power while revealing the complexities that hinder society's pursuit of justice.
The world discovered Latin American literature in the twentieth century, but the roots of this rich literary tradition reach back beyond Columbus's discovery of the New World. The great pre-Hispanic civilizations composed narrative accounts of the acts of gods and kings. Conquistadors and friars, as well as their Amerindian subjects, recorded the clash of cultures that followed the Spanish conquest. Three hundred years of colonization and the struggle for independence gave rise to a diverse body of literature—including the novel, which flourished in the second half of the nineteenth century.
To give everyone interested in contemporary Spanish American fiction a broad understanding of its literary antecedents, this book offers an authoritative survey of four centuries of Spanish American narrative. Naomi Lindstrom begins with Amerindian narratives and moves forward chronologically through the conquest and colonial eras, the wars for independence, and the nineteenth century. She focuses on the trends and movements that characterized the development of prose narrative in Spanish America, with incisive discussions of representative works from each era. Her inclusion of women and Amerindian authors who have been downplayed in other survey works, as well as her overview of recent critical assessments of early Spanish American narratives, makes this book especially useful for college students and professors.
Shrewd science-writers, O’Connor shows, marketed spectacular visions of past worlds, piquing the public imagination with glimpses of man-eating mammoths, talking dinosaurs, and sea-dragons spawned by Satan himself. These authors—including men of science, women, clergymen, biblical literalists, hack writers, blackmailers, and prophets—borrowed freely from the Bible, modern poetry, and the urban entertainment industry, creating new forms of literature in order to transport their readers into a vanished and alien past.
In exploring the use of poetry and spectacle in the promotion of popular science, O’Connor proves that geology’s success owed much to the literary techniques of its authors. An innovative blend of the history of science, literary criticism, book history, and visual culture, The Earth on Show rethinks the relationship between science and literature in the nineteenth century.
Eighteenth-Century Contexts offers a lively array of essays that consider literary, intellectual, political, theological, and cultural aspects of the years 1650–1800, in the British Isles and Europe. At the center of the book is Jonathan Swift; several essays delve into his poetry, his similarities to Bernard Mandeville, his response to Anthony Collins’s Discourse of Free-Thinking, and the relationship between his Gulliver’s Travels and Thomas More’s Utopia. Other essays discuss Alexander Pope, eighteenth-century music and poetry, William Congreve, James Boswell, Samuel Richardson, and women’s novels of the eighteenth century.
"1819? At first sight, it might not seem a 'hot date'; but as James Chandler argues in his powerful book, it would be a mistake to overlook a year of such exceptional political conflagration and literary pyrotechnics in British history. Chandler's study is a wide-ranging, enormously ambitious, densely packed, closely argued work."—John Brewer, New Republic
"The book's largest argument, and the source of its considerable revelations, is that late twentieth-century practices of cultural history-writing have their roots in the peculiar Romantic historicism born in post-Waterloo Britain."—Jon Klancher, Times Literary Supplement
"A monumental work of scholarship."—Terry Eagleton, The Independent
The English civil wars loom large in seventeenth-century history and literature. This period, which culminated in the execution of a king, the dismantling of the Established Church, the inauguration of a commonwealth, and the assumption of rule by a lord protector, was one of profound change and disequilibrium. Focusing on writers as major as Milton, Marvell, Herrick, and Vaughan, and as misunderstood as Fane, Overton, and the poet Eliza, the fifteen essays in this collection discuss not only the representation of the civil wars but also the ways in which the civil wars were anticipated, refigured, and refracted in the century's literary imagination.
Although all of the essays are historically grounded and critically based, they vary widely in their historical perspectives and critical techniques, as well as in their scope and area of concentration. Six of the essays are on Royalist literary figures, six are on figures traditionally associated with the Parliamentarian side of the civil wars, two consider both, and the remaining essay examines how Royalist writers refashioned a puritan literary trope.
Unified through the contributors' concentration on "moderate" voices and their recurrent concerns with the ambiguities of literary response, The English Civil Wars in the Literary Imagination provides an important understanding of the English civil wars' manifold and sometimes indirect presence in the literature of the period.
Ethics and the Dynamic Observer Narrator contributes to scholarship on both narrative theory and the historical and cultural context of German and Austrian literary studies. Narrative theory, according to Byram, should understand this form to register complex interactions between history and narrative form. Byram also juxtaposes new readings of works by Textor, Storm, and Raabe from the nineteenth century with analyses of twentieth-century works by Grass, Handke, and Sebald, ultimately reframing our understanding of literary Vergangenheitsbewältigung, or the struggle to come to terms with the past. Overall, Byram shows that neither the problem of reckoning with the past nor the dynamic observer form is unique to Germany’s post-WWII era. Both are products of the dynamics of modern identity, surfacing whenever critical change separates what was from what is.
After deconstructing economic accounts of the “two Americas" model of the hemisphere, including the lost decade (1981–1992) and the “end of history” (1975–1992), Weiser considers six case studies during the same period that reach very different conclusions by drawing on cultural history, including works by Tomás Eloy Martínez, Laura Antillano, Ana Maria Machado, Silviano Santiago, John Updike, and Jay Cantor. In order to expose how governments controlled and misrepresented recent events, these writers created false documents, or fake historical texts, that presented themselves as legitimate eyewitness accounts or archival documents. Weiser establishes how this alternative to postmodern irony more effectively galvanized citizen responses. As the first book to contextualize the parallel, hemispheric evolutions of postwar literary criticism and cultural historiography, False Documents responds to the methodological impasse between Latin American and American studies as well as the antagonism between history and literature, arguing that collaboration and synthesis are particularly vital at a moment when the humanities is increasingly under attack.
The logic and the interpretive resources of For the Record arise out of two entangled and minoritized historiographies: one in South Asian studies and the other in queer/sexuality studies. Focusing on late colonial India, Arondekar examines the spectacularization of sexuality in anthropology, law, literature, and pornography from 1843 until 1920. By turning to materials and/or locations that are familiar to most scholars of queer and subaltern studies, Arondekar considers sexuality at the center of the colonial archive rather than at its margins. Each chapter addresses a form of archival loss, troped either in a language of disappearance or paucity, simulacrum or detritus: from Richard Burton’s missing report on male brothels in Karáchi (1845) to a failed sodomy prosecution in Northern India, Queen Empress v. Khairati (1884), and from the ubiquitous India-rubber dildos found in colonial pornography of the mid-to-late nineteenth century to the archival detritus of Kipling’s stories about the Indian Mutiny of 1857.
In addressing the postmodernist claim that history works no differently than fiction, Timothy Parrish rejects the implication that history is dead or hopelessly relativistic. Rather, he shows how the best postmodern novelists compel their readers to accept their narratives as true in the same way that historians expect their readers to accept their narratives as true. These novelists write history as a form of fiction.
If the great pre-modernist American historians are Francis Parkman, George Bancroft, and Henry Adams, who are the great modernist or postmodernist historians? In the twentieth century, Parrish argues, the most powerful works of American history were written by William Faulkner, Toni Morrison, Thomas Pynchon, Don DeLillo, Joan Didion, and Cormac McCarthy. What survives a reading of these novels is the sense that writers otherwise identified as multicultural or postmodern share the view that nothing matters more than history and what one believes its possibilities to be. In other words, Parrish concludes, history, not identity, is the ground of postmodern American fiction.
This book explains the factors that triggered the demise of the Midwest’s regionalist energies, from anti-midwestern machinations in the literary world and the inability of midwestern writers to break through the cultural politics of the era to the growing dominance of a coastal, urban culture. These developments paved the way for the proliferation of images of the Midwest as flyover country, the Rust Belt, a staid and decaying region. Yet Lauck urges readers to recognize persisting and evolving forms of midwestern identity and to resist the forces that squelch the nation’s interior voices.
Ghostly Figures contends that this poetics of belatedness, along with the way it is bound to questions of poetic making, is a central, if critically neglected, force in postwar American poetry. Discussing works by Sylvia Plath, Adrienne Rich, Jorie Graham, Susan Howe, and a group of poets responding to the AIDS epidemic, Ann Keniston draws on and critically assesses trauma theory and psychoanalysis, as well as earlier discussions of witness, elegy, lyric trope and figure, postmodernism, allusion, and performance, to define the ghosts that clearly dramatize poetics of belatedness throughout the diverse poetry of post–World War II America.
Building on extensive archival research as well as insights from cultural geographers and theorists of nationhood, Heartless Immensity demonstrates that national expansion had a far more complicated, multifaceted impact on antebellum American culture than has previously been recognized. Baker shows that Americans developed a variety of linguistic strategies for imagining the form of the United States and its position in relation to other geopolitical entities. Comparisons
to European empires, biblical allusions, body politic metaphors, and metaphors derived from science all reflected—and often attempted to assuage—fears that the nation was becoming either monstrously large or else misshapen in ways that threatened cherished beliefs and national self-images.
Heartless Immensity argues that, in order to understand the nation’s shift from republic to empire and to understand American culture in a global context, it is first necessary to pay close attention to the processes by which the physical entity known as the United States came into being. This impressively thorough study will make a valuable contribution to the fields of American studies and literary studies.
Anne Baker is Assistant Professor of English at North Carolina State University.
The volume includes studies of mid-Tudor culture as well as of Elizabethan and Stuart periods.
Carrard’s work here is expansive—examining the conventions historians draw on to produce their texts and casting light on views put forward by literary theorists, theorists of history, and historians themselves. Ranging from discussions of lengthy dissertations on 1960s social and economic history to a more contemporary focus on events, actors, memory, and culture, the book digs deep into the how of history. How do historians arrange their data into narratives? What strategies do they employ to justify the validity of their descriptions? Are actors given their own voice? Along the way, Carrard also readdresses questions fundamental to the field, including its necessary membership in the narrative genre, the presumed objectivity of historiographic writing, and the place of history as a science, distinct from the natural and theoretical sciences.
Greek tragedy has held sway over the imagination of audiences for well over two millennia. This collection of essays on Athenian drama, the proceedings of a conference held at the University of Texas at Austin in 1992, demonstrates that Greek tragedy still retains its power to provoke debate and to engage the interest of specialists and non-classicists alike.
The book includes essays by seven of the foremost scholars of Greek drama—Helene Foley, Michelle Gellrich, Peter W. Rose, David Rosenbloom, Richard Seaford, Bernd Seidensticker, and Froma I. Zeitlin. These writers explore the work of all three great tragedians, Aeschylus, Sophocles, and Euripides, and approach them from a variety of perspectives on history and theory, including poststructuralism and Marxism. They investigate the possibilities for coordinating theoretically informed readings of tragedy with a renewed attention to the pressure of material history within those texts. The collection thus represents a response within classics to "New Historicism" and the debates it has generated within related literary disciplines.
How Myth Became History explores the formation of national, ethnic, racial, and class identities in the Texas borderlands. Examining Mexican, Mexican American, and Anglo Texan narratives as competing representations of the period spanning the Texas Declaration of Independence to the Mexican Revolution, John E. Dean traces the creation and development of border subjects and histories. Dean uses history, historical fiction, postcolonial theory, and U.S.-Mexico border theory to disrupt “official” Euro-American histories.
Dean argues that the Texas-Mexico borderlands complicate national, ethnic, and racial differences. He makes this clear in his discussion of the Mexican Revolution, when many Mexican Americans who saw themselves as Mexicans fought for competing revolutionary factions in Mexico, while others who saw themselves as U.S. Americans tried to distance themselves from Mexico altogether.
Analyzing literary representations of the border, How Myth Became History emphasizes the heterogeneity of border communities and foregrounds narratives that have often been occluded, such as Mexican-Indio histories. The border, according to Dean, still represents a contested geographical entity that destabilizes ethnic and racial groups. Border dynamics provide critical insight into the vexed status of the contemporary Texas-Mexico divide and point to broader implications for national and transnational identity.
Westward expansion on the North American continent by European settlers generated a flurry of writings on the frontier experience over the course of a hundred years. Asserting that the dominant ideology of America’s Manifest Destiny embodied a tense, often contradictory union of Christian and secular republican views of social progress, In the Work of Their Hands Is Their Prayer investigates the ambivalence of the frontier as it was inscribed with redemptive, historical significance by a host of frontier writers.
Enlisting canonical and noncanonical sources, Joel Daehnke examines the manner in which the imagery of the human figure at work and play in the frontier landscape participated in the nationalist, “civilizing” project of westward expansion. While he acknowledges the growing secularization of American life, Professor Daehnke surveys the continuing claims of the Christian redemptive scheme as a powerful symbolic domain for these writers’ meditations on social progress and the potential for human perfectibility in the landscapes of the West.
Whether discussing the Edenic imagery of women’s gardens, the advocacy of an ethics of land use, or the affairs of fortune in the mining districts of Nevada, In the Work of Their Hands Is Their Prayer presents an enlightening reexamination of an American ideology of progress and its enduring fascination with mission, Manifest Destiny, and the ends of history.
In the Work of Their Hands Is Their Prayer is a welcome addition to the extended library of critical attention to the ideology, history, and literary traditions of the American frontier.
One of the most enduring and prolific American authors of the latter half of the twentieth century, John Updike has long been recognized by critics for his importance as a social commentator. Yet, John Updike and the Cold War is the first work to examine how Updike's views grew out of the defining context of American culture in his time—the Cold War. Quentin Miller argues that because Updike's career began as the Cold War was taking shape in the mid-1950s, the world he creates in his entire literary oeuvre—fiction, poetry, and nonfiction prose—reflects the optimism and the anxiety of that decade.
Miller asserts that Updike's frequent use of Cold War tension as a metaphor for domestic life and as a cultural reality that affects the psychological security of his characters reveals the inherent conflict of his fictional world. Consequently, this conflict helps explain some of the problematic relationships and aimless behavior of Updike's characters, as well as their struggles to attain spiritual meaning.
By examining Updike's entire career in light of the historical events that coincide with it, Miller shows how important the early Cold War mind-set was to Updike's thinking and to the development of his fiction. The changes in Updike's writing after the 1950s confirm the early Cold War era's influence on his ideology and on his celebrated style. By the Cold War's end in the late 1980s, Updike's characters look back fondly to the Eisenhower years, when their national identity seemed so easy to define in contrast to the Soviet Union. This nostalgia begins as early as his writings in the 1960s, when the breakdown of an American consensus disillusions Updike's characters and leaves them yearning for the less divisive 1950s.
While underscoring how essential history is to the study of literature, Miller demonstrates that Updike's writing relies considerably on the growth of the global conflict that defined his time. Cogent and highly readable, John Updike and the Cold War makes an important contribution to Updike scholarship.
Kronenfeld’s focus expands from the text of Shakespeare’s play to a discussion of a shared Christian culture—a shared language and set of values—a common discursive field that frames the social ethics of the play. That expanded focus is used to address the multiple ways that clothing and nakedness function in the play, as well as the ways that these particular images and terms are understood in that shared context. As Kronenfeld moves beyond Lear to uncover the complex resonances of clothing and nakedness in sermons, polemical tracts, legislation, rhetoric, morality plays, and actual or alleged practices such as naked revolts by Anabaptists and the Adamians’ ritual disrobing during religious services, she demonstrates that many key terms and concepts of the period cannot be tied to a single ideology. Instead, they represent part of an intricate network of thought shared by people of seemingly opposite views, and it is within such shared cultural networks that dissent, resistance, and creativity can emerge. Warning her readers not to take the language of literary texts out of the linguistic context within which it first appeared, Kronenfeld has written a book that reinterprets the linguistic model that has been the basis for much poststructuralist criticism.
Literature as History offers a critical new path for Chicano and Latino history. Historian Mario T. García analyzes prominent works of Chicano fiction, nonfiction, and autobiographical literature to explore how they can sometimes reveal even more about ordinary people’s lives. García argues that this approach can yield personal insights into historical events that more formal documents omit, lending insights into such diverse issues as gender identity, multiculturalism, sexuality, and the concerns of the working class.
In a stimulating and imaginative look at the intersection of history and literature, García discusses the meaning and intent of narratives. Literature as History represents a unique way to rethink history. García, a leader in the field of Chicano history and one of the foremost historians of his generation, explores how Chicano historians can use Chicano and Latino literature as important historical sources. Autobiography, testimonio, and fiction are the genres the author researches to obtain new and insightful perspectives on Chicano history at the personal and grassroots levels. Breaking the boundaries between history and literature, García provides a thought-provoking discussion of what constitutes a historical source.
What if we didn’t always historicize when we read Victorian fiction?
Lost Causes shows that Victorian writers frequently appear to have a more supple and interesting understanding of the relationship between history, causality, and narrative than the one typically offered by readers who are burdened by the new historicism. As a return to these writers emphasizes, the press of modern historicism deforms Victorian novels, encouraging us to read deviations from strict historical accuracy as ideological bad faith. By contrast, Jason B. Jones argues through readings of works ranging from The French Revolution to Middlemarch that literature’s engagement with history has to be read otherwise.Perhaps perversely, Lost Causes suggests simultaneously that psychoanalysis speaks pressingly to the vexed relationship between history and narrative, and that the theory is neither a- nor anti-historical. Through his readings of Victorian fiction addressing the recent past, Jones finds in psychoanalysis not a set of truths, but rather a method for rhetorical reading, ultimately revealing how its troubled account of psychic causality can help us follow literary language’s representation of the real. Victorian narratives of the recent past and psychoanalytic interpretation share a fascination with effects that persist despite baffling, inexplicable, or absent causes.
In chapters focusing on Thomas Carlyle, Charles Dickens, Charlotte Brontë, and George Eliot, Lost Causes demonstrates that history can carry an ontological, as well as an epistemological, charge—one that suggests a condition of being in the world as well as a way of knowing the world as it really is. From this point of view, Victorian fiction that addresses the recent past is not a failed realism, as it is so frequently claimed, but rather an exploration of possibility in history.
Focusing on modern Mexico, from 1840 to the 1980s, this volume examines the cultural venues in which people articulated their understanding of the social, political, and economic change they witnessed taking place during times of tremendous upheaval, such as the Mexican-American War, the Porfiriato, and the Mexican Revolution. The words of diverse peoples—people of the street, of the field, of the cantinas—reveal the development of the modern nation. Neufeld and Matthews have chosen sources so far unexplored by Mexicanist scholars in order to investigate the ways that individuals interpreted—whether resisting or reinforcing—official narratives about formative historical moments.
The contributors offer new research that reveals how different social groups interpreted and understood the Mexican experience. The collected essays cover a wide range of topics: military life, railroad accidents, religious upheaval, children’s literature, alcohol consumption, and the 1985 earthquake. Each chapter provides a translated song or poem that encourages readers to participate in the interpretive practice of historical research and cultural scholarship. In this regard, Mexico in Verse serves both as a volume of collected essays and as a classroom-ready primary document reader.
In a striking departure from previous scholarship, Scott Lucas shows that modern critics have misconstrued the purpose of the tragic verse narratives of the Mirror, approaching them primarily as uncontroversial meditations on abstract political and philosophical doctrines. Lucas revises this view, revealing many of the Mirror tragedies to be works topically applicable in form and politically contentious in nature.
Lucas returns the earliest poems of A Mirror for Magistrates to the troubled context of their production, the tumultuous reign of the Catholic Queen Mary (1553–1558). As Protestants suffering from the traumatic collapse of King Edward VI's "godly" rule (1547–1553) and from the current policies of Mary's government, the Mirror authors radically reshaped their poems' historical sources in order to craft emotionally moving narratives designed to provide models for interpreting the political failures of Edward VI's reign and to offer urgent warnings to Marian magistrates.
Lucas's study also reveals how, in later poems, the Mirror authors issued oblique appeals to Queen Elizabeth's officers, boldly demanding that they allow the realm of "the literary" to stand as an unfettered discursive arena of public controversy. Lucas thus provides a provocative new approach to this seminal but long-misunderstood collection, one that restores the Mirror to its rightful place as one of the greatest works of sixteenth-century English political literature.
In the 1920s and ‘30s, understandings of time, place, and civilization were subjected to a barrage of new conceptions. Ronald Berman probes the work of three writers who wrestled with one or more of these issues in ways of lasting significance.
Hemingway, Fitzgerald, and Orwell all grappled with fluid notions of time: Hemingway’s absolute present, Fitzgerald’s obsession with what might be and what might have been, and Orwell’s concerns with progress. For these authors, progress is also tied to competing senses of place--for Fitzgerald, the North versus the South; for Hemingway, America versus Europe. At stake for each is an understanding of what constitutes true civilization in a post-war world. Berman discusses Hemingway’s deployment of language in tackling the problems of thinking and knowing. Berman follows this notion further in examining the indisputable impact upon Hemingway’s prose of Paul Cézanne’s painting and the nature of perception.
Finally, Berman considers the influence on Orwell of Aristotle and Freud’s ideas of civilization, translated by Orwell into the fabric of 1984 and other writings.
Ronald Berman is Professor of English at the University of California at San Diego and past chairman of the National Endowment for the Humanities. He is author of six books, including “The Great Gatsby” and Fitzgerald’s World of Ideas and Fitzgerald-Wilson-Hemingway: Language and Experience.
Fischer draws on history, literary scholarship, political theory, philosophy, and psychoanalytic theory to examine a range of material, including Haitian political and legal documents and nineteenth-century Cuban and Dominican literature and art. She demonstrates that at a time when racial taxonomies were beginning to mutate into scientific racism and racist biology, the Haitian revolutionaries recognized the question of race as political. Yet, as the cultural records of neighboring Cuba and the Dominican Republic show, the story of the Haitian Revolution has been told as one outside politics and beyond human language, as a tale of barbarism and unspeakable violence. From the time of the revolution onward, the story has been confined to the margins of history: to rumors, oral histories, and confidential letters. Fischer maintains that without accounting for revolutionary antislavery and its subsequent disavowal, Western modernity—including its hierarchy of values, depoliticization of social goals having to do with racial differences, and privileging of claims of national sovereignty—cannot be fully understood.
Providing ways to link literary and nonliterary narratives, González Echevarría examines a variety of archival writings—from the chronicles of the discovery and conquest of the New World to scientific travel narratives and records of criminal confessions—and explores the relationship of these writings to novels by authors such as García Márquez, Borges, Barnet, Sarmiento, Carpentier, and Garcilaso de la Vega. Moving beyond demonstrating that early forms of creative narrative had their geneses in the sixteenth-century authoritative discourse of the Spanish Empire, González Echevarría shows how this same originating process has been repeated in other key moments in the history of the Latin American narrative. He shows how the discourse of scientific discovery was the model for much nineteenth-century literature, as well as how anthropological writings on the nature of language and myth have come to shape the ideology and form of literature in the twentieth century. This most recent form of Latin American narrative creates its own mythic form through an atavistic return to its legal origins—the archive.
This acclaimed book—originally published in 1990—will be of continuing interest to historians, anthropologists, literary theorists, and students of Latin American culture.
The narrative and rhetorical strategies of historical discourse figure in both the fiction and historiography of postwar Spain. Herzberger analyzes these strategies, identifying the structures and vocabularies they use to frame the past and endow it with particular meanings. He shows how Francoist historians sought to affirm the historical necessity of Franco by linking the regime to a heroic and Christian past, while several types of postwar fiction—such as social realism, the novel of memory, and postmodern novels—created a voice of opposition to this practice. Focusing on the concept of writing history that these opposing strategies convey, Herzberger discloses the layering of truth and meaning that lies at the heart of postwar Spanish narrative from the early 1940s to the fall of Franco. His study clearly reveals how the novel in postwar Spain became a crucial form of dissent from the past as it was conceived and used by the State.
Making a decisive intervention in the debate about the ways in which narration determines both the meaning and truth of history and fiction, Narrating the Past will be of special interest to students and scholars of the politics, history, and literature of twentieth-century Spain.
“Poets are lyric historians,” proclaimed Langston Hughes. Today, historical poetry offers a lyric history necessary to our current moment—poetry with the power to correct the past, realign the present, and create a more hopeful, or even hoped-for, future. The Necessary Past: Revising History in Contemporary African American Poetry focuses on six of today’s most celebrated poets: Elizabeth Alexander, Natasha Trethewey, A. Van Jordan, Kevin Young, Frank X Walker, and Camille T. Dungy. Their works reimagine the interiority of Black historical figures like the so-called Venus Hottentot Sara Baartman and the would-be spelling champion MacNolia Cox, the African American Native Guard who fought in the Civil War and the unknown victims of domestic violence, Jack Johnson and Jean-Michel Basquiat, Medgar Evers and those freed and enslaved in the early nineteenth century. These poets shift the power dynamic in revising our shared history, reconfiguring who speaks and whose stories are told, and writing a past that frees readers to change the present and envision a more just future.
According to Breslin, Walcott's work is centrally concerned with the West Indies' imputed absence from history and lack of cohesive national identity or cultural tradition. Walcott sees this lack not as impoverishment but as an open space for creation. In his poems and plays, West Indian history becomes a realm of necessity, something to be confronted, contested, and remade through literature. What is most vexed and inspired in Walcott's work can be traced to this quixotic struggle.
Linking extensive archival research and new interviews with Walcott himself to detailed critical readings of major works, Nobody's Nation will take its place as the definitive study of the poet.
The Object of the Atlantic is a wide-ranging study of the transition from a concern with sovereignty to a concern with things in Iberian Atlantic literature and art produced between 1868 and 1968. Rachel Price uncovers the surprising ways that concrete aesthetics from Cuba, Brazil, and Spain drew not only on global forms of constructivism but also on a history of empire, slavery, and media technologies from the Atlantic world. Analyzing Jose Marti’s notebooks, Joaquim de Sousandrade’s poetry, Ramiro de Maeztu’s essays on things and on slavery, 1920s Cuban literature on economic restructuring, Ferreira Gullar’s theory of the “non-object,” and neoconcrete art, Price shows that the turn to objects—and from these to new media networks—was rooted in the very philosophies of history that helped form the Atlantic world itself.
As writers of English from Australia to India to Sri Lanka command our attention, Salman Rushdie can state confidently that English fiction was moribund until the Empire wrote back, and few, even among the British, demur. A. S. Byatt does, and her case is persuasive. In a series of essays on the complicated relations between reading, writing, and remembering, the gifted novelist and critic sorts the modish from the merely interesting and the truly good to arrive at a new view of British writing in our time.
Whether writing about the renaissance of the historical novel, discussing her own translation of historical fact into fiction, or exploring the recent European revival of interest in myth, folklore, and fairytale, Byatt's abiding concern here is with the interplay of fiction and history. Her essays amount to an eloquent and often moving meditation on the commitment to historical narrative and storytelling that she shares with many of her British and European contemporaries. With copious illustration and abundant insights into writers from Elizabeth Bowen and Henry Green to Anthony Burgess, William Golding, Muriel Spark, Penelope Fitzgerald, Julian Barnes, Martin Amis, Hilary Mantel, and Pat Barker, On Histories and Stories is an oblique defense of the art Byatt practices and a map of the complex affiliations of British and European narrative since 1945.
The claim, often made, that India--uniquely among civilizations--lacks historical writing distracts us from a more pertinent question, according to Romila Thapar: how to recognize the historical sense of societies whose past is recorded in ways very different from European conventions. In The Past Before Us, a distinguished scholar of ancient India guides us through a panoramic survey of the historical traditions of North India. Thapar reveals a deep and sophisticated consciousness of history embedded in the diverse body of classical Indian literature.
The history recorded in such texts as the Ramayana and the Mahabharata is less concerned with authenticating persons and events than with presenting a picture of traditions striving to retain legitimacy and continuity amid social change. Spanning an epoch of nearly twenty-five hundred years, from 1000 BCE to 1400 CE, Thapar delineates three distinct historical traditions: an Itihasa-Purana tradition of Brahman authors; a tradition composed mainly by Buddhist and Jaina scholars; and a popular bardic tradition. The Vedic corpus, the epics, the Buddhist canon and monastic chronicles, inscriptions, regional accounts, and royal biographies and dramas are all scrutinized afresh--not as sources to be mined for factual data but as genres that disclose how Indians of ancient times represented their own past to themselves.
This is an analysis of the literary art of recapturing the past as the artist perceives it. By clearly distinguishing different ways of creating a past--in fiction, history, and other arts--Toliver enriches our understanding of literary strategies.
The Past that Poets Make examines such questions as how a fictional narrative differs from other ways of seeing a past time; to what extent literature is nontemporal, transcending its time, and to what extent it is tied to the institutions and traditions of its era; how given works conjure up a sense of time; and how fictional narratives function as transmitters of ideas to societies prepared to absorb them.
Representing a broad range of contemporary criticism, this volume features many short essays by the most well-known and respected Latin Americanists, each devoting attention to specific matters of history. The topics range from Incan architecture to Chicano and Nuyorican habitats; from turn of the century Argentine criminology to Caribbean homophobia; from the rhetorics of independence and dictatorship to Mexican ambivalence about opera and Brazil’s move beyond monarchy; and from the precarious survival of Spanish language in Latin America to its paradoxical legacy of enlightenment in the Philippines. Originally published as a special issue of Modern Language Quarterly (June 1996), this expanded edition includes a new introduction by Doris Sommer and a new essay by Vincente Rafael. Viewed together, these essays reveal a cultural richness that is sure to interest literary scholars and Latin Americanists alike.
Contributors. Carlos J. Alonso, Antonio Benítez-Rojo, John Beverley, Debra A. Castillo, Arcadio Diaz-Quiñones, Juan Flores, Mary M. Gaylord, José Limón, Josefina Ludmer, Francine Masiello, Antonio Mazzotti, Walter D. Mignolo, Sylvia Molloy, Mary Louise Pratt, Vincente Rafael, Julio Ramos, Susana Rotker, Roberto Schwarz, Diana Taylor, Nancy Vogeley
Henry Weinfield offers a new reading not only of the Elegy itself but also of its place in English literary history. His central argument is that in Gray’s Elegy the thematic constellation of poverty, anonymity, alienation, and unfulfilled potential—or what Weinfield calls the "problem of history"—is fully articulated for the first time, and that, as a result, the Elegy represents an important turning-point in the history of English poetry.
Hayden White borrows the title for The Practical Past from philosopher Michael Oakeshott, who used the term to describe the accessible material and literary-artistic artifacts that individuals and institutions draw on for guidance in quotidian affairs. The Practical Past, then, forms both a summa of White’s work to be drawn upon and a new direction in his thinking about the writing of history.
White’s monumental Metahistory: The Historical Imagination in Nineteenth-Century Europe (1973) challenged many of the commonplaces of professional historical writing and wider assumptions about the ontology of history itself. It formed the basis of his argument that we can never recover “what actually happened”in the past and cannot really access even material culture in context. Forty years on, White sees “professional history" as falling prey to narrow specialization, and he calls upon historians to take seriously the practical past of explicitly “artistic” works, such as novels and dramas, and literary theorists likewise to engage historians.
Private Lives, Proper Relations begins with the question of why contemporary African American literature—particularly that produced by black women—is continually concerned with issues of respectability and propriety. Candice M. Jenkins argues that this preoccupation has its origins in recurrent ideologies about African American sexuality, and that it expresses a fundamental aspect of the racial self—an often unarticulated link between the intimate and the political in black culture.
In a counterpoint to her paradigmatic reading of Nella Larsen’s Passing, Jenkins’s analysis of black women’s narratives—including Ann Petry’s The Street, Toni Morrison’s Sula and Paradise, Alice Walker’s The Color Purple, and Gayl Jones’s Eva’s Man—offers a theory of black subjectivity. Here Jenkins describes middle-class attempts to rescue the black community from accusations of sexual and domestic deviance by embracing bourgeois respectability, and asserts that behind those efforts there is the “doubled vulnerability” of the black intimate subject. Rather than reflecting a DuBoisian tension between race and nation, to Jenkins this vulnerability signifies for the African American an opposition between two poles of potential exposure: racial scrutiny and the proximity of human intimacy.
Scholars of African American culture acknowledge that intimacy and sexuality are taboo subjects among African Americans precisely because black intimate character has been pathologized. Private Lives, Proper Relations is a powerful contribution to the crucial effort to end the distortion still surrounding black intimacy in the United States.
Candice M. Jenkins is associate professor of English at Hunter College, City University o
Race and Time urges our attention to women’s poetry in considering the cultural history of race. Building on close readings of well known and less familiar poets—including Elizabeth Margaret Chandler, Sarah Louisa Forten, Hannah Flagg Gould, Frances Ellen Watkins Harper, Sarah Piatt, Mary Eliza Tucker Lambert, Sarah Josepha Hale, Eliza Follen, and Mary Mapes Dodge—Gray traces tensions in women’s literary culture from the era of abolitionism to the rise of the Plantation tradition. She devotes a chapter to children’s verse, arguing that racial stereotypes work as “nonsense” that masks conflicts in the construction of white childhood. A compilation of the poems cited, most of which are difficult to find elsewhere, is included as an appendix.
Gray clarifies the cultural roles women’s poetry played in the nineteenth-century United States and also reveals that these poems offer a fascinating, dynamic, and diverse field for students of social and cultural history. Gray’s readings provide a rich sense of the contexts in which this poetry is embedded and examine its aesthetic and political vitality in meticulous detail, linking careful explication of the texts with analysis of the history of poetry, canons, literacy, and literary authority.
Race and Time distinguishes itself from other critical studies not only through its searching, in-depth readings but also through its sustained attention to less known poets and its departure from a Dickinson-centered model. Most significantly, it offers a focus on race, demonstrating how changes in both the U.S. racial structure and women’s place in public culture set the terms for change in how women poets envisioned the relationship between poetry and social power.
Gray’s work makes contributions to several fields of study: poetry, U.S. literary history and American studies, women’s studies, African American studies and whiteness studies, children’s literature, and cultural studies. While placing the works of figures who have been treated elsewhere (e.g., Dickinson and Harper) into revealing new relationships, Race and Time does much to open interdisciplinary discussion of unfamiliar works.
Ever since the first interactions between Europeans and Native Americans, the “West” has served as a site of complex geographical, social and cultural transformation. American literature is defined, in part, by the central symbols derived from these points of contact. By the end of the nineteenth century, the Western frontier was declared “closed,” a demise solidified by Frederick Jackson Turner’s influential essay “The Significance of the Frontier in American History (1893). At the same time, “naturalism” was popularized by the writings of Frank Norris, Stephen Crane, Jack London, Willa Cather, and the photographs of Edward Curtis. Though very different artists, they were united by their common attraction to the mythic American West.
As she investigates the interactions of representations of the West, Lawlor effortlessly melds literary studies, American studies, and history. She traces the cultural conception of the American West through its incarnations in the “westernism” of Daniel Boone and James Fenimore Cooper and the romanticism of the expansive frontier they helped formulate. Simultaneously, however, the influence of evolutionism and the styles of French naturalism began to challenge this romantic idiom. This naturalistic discourse constructed the West as a strictly material place, picturing a limited and often limiting geography that portrayed regional identity as the product of material “forces” rather than of individualistic enterprise.
With subtle, probing language, Lawlor explains how literary and artistic devices helped shape the idea of the American West and the changing landscape of the continent at the turn of the last century.
Originally published as a special issue of boundary 2, the essays gathered here discuss writers as diverse as Kate Chopin, Frederick Douglass, Emerson, Melville, W. D. Howells, Henry James, W. E. B. DuBois, and Mark Twain, plus the historical figure John Brown. Two major sections devoted to the theory of romance and to cultural-historical analyses emphasize the political perspective of "New Americanist" literary and cultural study.
Contributors. William E. Cain, Wai-chee Dimock, Howard Horwitz, Gregory S. Jay, Steven Mailloux, John McWilliams, Susan Mizruchi, Donald E. Pease, Ivy Schweitzer, Priscilla Wald, Michael Warner, Robert Weimann
Martin shows how Paradise Lost, written at the threshold of the enormous imaginative shift that accompanied the Protestant, scientific, and political revolutions of the seventeenth century, conforms to a prophetic baroque model of allegory similar to that outlined by Walter Benjamin. As she demonstrates, Milton’s experimentation with baroque forms radically reformulates classical epic, medieval romance, and Spenserian allegory to allow for both a naturalistic, empirically responsible understanding of the universe and for an infinite and incomprehensible God. In this way, the resulting poetic world of Paradise Lost is like Milton’s God, an allegorical “ruin” in which the divine is preserved but at the price of a loss of certainty. Also, as Martin suggests, the poem affirmatively anticipates modernity by placing the chief hope of human progress in the fully self-authored subject.
Maintaining a dialogue with a critical tradition that extends from Johnson and Coleridge to the best contemporary Milton scholarship, Martin sets Paradise Lost in both the early modern and the postmodern worlds. Ruins of Allegory will greatly interest all Milton scholars, as well as students of literary criticism and early modern studies.
Relating subjectivity to the nature of language, Grossman uses the theories of Lacan to analyze the concept of the self as it encounters a transforming environment. He shows how ideological tensions arose from the reorganization and "modernization" of social life in revolutionary England and how the major poets of the time represented the division of the self in writings that are suspended between lyric and narrative genres. Beginning with the portrayals of the self inherited from Augustine, Dante, and Petrarch, he describes the influence of historic developments such as innovations in agricultural technology, civil war and regicide, and the emergence of republican state institutions on the changing representation of characters in the works of Spenser, Donne, Marvell, and Milton. Furthering this psychoanalytic critique of literary history, Grossman probes the linguistic effects of social and personal factors such as Augustine’s strained relationship with his mother and the marital disharmony of Milton and Mary Powell. With its focus on these and other "literary historical events," The Story of All Things not only proposes a new structural theory of narrative but constitutes a significant challenge to New Historicist conceptions of the self.
While the concept of defeat in the Mexican literary canon is frequently acknowledged, it has rarely been explored in the fullness of the psychological and religious contexts that define this aspect of "mexicanidad." Going beyond the simple narrative of self-defeat, The Uses of Failure in Mexican Literature and Identity presents a model of failure as a source of knowledge and renewed self-awareness.
Studying the relationship between national identity and failure, John Ochoa revisits the foundational texts of Mexican intellectual and literary history, the "national monuments," and offers a new vision of the pivotal events that echo throughout Mexican aesthetics and politics. The Uses of Failure in Mexican Literature and Identity encompasses five centuries of thought, including the works of the Conquistador Bernal Díaz del Castillo, whose sixteenth-century True History of the Conquest of New Spain formed Spanish-speaking Mexico's early self-perceptions; José Vasconcelos, the essayist and politician who helped rebuild the nation after the Revolution of 1910; and the contemporary novelist Carlos Fuentes.
A fascinating study of a nation's volatile journey towards a sense of self, The Uses of Failure elegantly weaves ethical issues, the philosophical implications of language, and a sociocritical examination of Latin American writing for a sparkling addition to the dialogue on global literature.
Concerned with both the theory and practice of literary history, these provocative and sometimes combative pieces examine the writing of literary history, the nature of our interest in tradition, and the ways that literary works act in history. Among the numerous issues discussed are the uses of evidence, anachronism, the dialectic of texts and contexts, particularism and the resistance to reductive understanding, the construction of identities, memory, and the endurance of the past. New historicism, nationalism, and gender studies appear in relation to more traditional issues such as textual editing, taste, and literary pedagogy. Combining new and old perspectives, The Uses of Literary History provides a broad view of the field.
Contributors. Charles Altieri, Jonathan Arac, R. Howard Bloch, Richard Dellamora, Paul H. Fry, Geoffrey Hartman, Denis Hollier, Donna Landry, Lawrence Lipking, Jerome J. McGann, Walter Benn Michaels, Rukmini Bhaya Nair, Virgil Nemoianu, Annabel Patterson, David Perkins, Marjorie Perloff, Meredith Anne Skura, Doris Sommer, Peter Stallybrass, Susan Stewart
The subject of renewed interest among literary and cultural scholars, Vernon Lee wrote more than forty books, in a broad range of genres, including fiction, history, aesthetics, and travel literature. Early on, Lee established her reputation as a public critic whose unconventional viewpoints stood out among those of her contemporaries.
To feminist and cultural critics, she is a fascinating model of the independent female intellectual who, as Desmond MacCarthy once put it, provides a rare combination of intellectual curiosity and imaginative sensibility.
A startlingly original critical study, Vernon Lee adds new dimensions to the legacy of this woman of letters whose career spans the transition from the late Victorian to the modernist period. Zorn draws on archival materials to discuss Lee’s work in terms of British aestheticism and in the context of the Western European history of ideas.
Zorn contends that Lee’s fiction and nonfiction represent a literary position that bridges and surpasses both the Victorian sage and the modernist aesthetic critic.
Through Professor Zorn’s approach, which combines theoretical framings of texts in terms of recent feminist and cultural criticism with passages of close reading, Vernon Lee emerges as an influential figure in late-nineteenth-century British and continental European thinking on history, art, culture, and gender.
When Margaret Thatcher called in 1979 for a return to Victorian values such as hard work, self-reliance, thrift, and national pride, Labour Party leader Neil Kinnock responded that “Victorian values” also included “cruelty, misery, drudgery, squalor, and ignorance.”
The Victorians in the Rearview Mirror is an in-depth look at the ways that the twentieth century reacted to and reimagined its predecessor. It considers how the Victorian inheritance has been represented in literature, politics, film, and visual culture; the ways in which modernists and progressives have sought to differentiate themselves from an image of the Victorian; and how conservatives (and some liberals) have sought to revive elements of nineteenth-century life. Nostalgic and critical impulses combine to fix an understanding of the Victorians in the popular imagination.
Simon Joyce examines heritage culture, contemporary politics, and the “neo-Dickensian” novel to offer a more affirmative assessment of the Victorian legacy, one that lets us imagine a model of social interconnection and interdependence that has come under threat in today’s politics and culture.
Although more than one hundred years have passed since the death of Queen Victoria, the impact of her time is still fresh. The Victorians in the Rearview Mirror speaks to diverse audiences in literary and cultural studies, in addition to those interested in visual culture and contemporary politics, and situates detailed close readings of literary and cinematic texts in the context of a larger argument about the legacies of an era not as distant as we might like to think.
This book explores the parallel and yet profoundly different ways of seeing the outside world and engaging with the foreign at two important moments of dislocation in Chinese history, namely, the early medieval period commonly known as the Northern and Southern Dynasties (317–589 CE), and the nineteenth century. Xiaofei Tian juxtaposes literary, historical, and religious materials from these two periods in comparative study, bringing them together in their unprecedentedly large-scale interactions, and their intense fascination, with foreign cultures.
By examining various cultural forms of representation from the two periods, Tian attempts to sort out modes of seeing the world that inform these writings. These modes, Tian argues, were established in early medieval times and resurfaced, in permutations and metamorphoses, in nineteenth-century writings on encountering the Other. This book is for readers who are interested not only in early medieval or nineteenth-century China but also in issues of representation, travel, visualization, and modernity.
This study begins with an examination of the textual and generic issues surrounding apocalypse, culminating in the idea of apocalyptic language as a form of “discursive mastery” over the mayhem of events. Woodland provides an informative religious/historical discussion of apocalypse and, engaging with such critics as Parker, Derrida, and Fowler, sets forth the paradoxes and complexities that eventually challenge any clear dualities between apocalyptic and antiapocalyptic thinking.
Woodland then examines some of Stevens’s wartime essays and poems and describes Stevens’s efforts to salvage a sense of self and poetic vitality in a time of war, as well as his resistance to the possibility of cultural collapse. Woodland discusses the major postwar poems “Credences of Summer” and “The Auroras of Autumn” in separate chapters, examining the interaction of (anti)apocalyptic modes with, respectively, pastoral and elegy.
The final chapter offers a perspective on Stevens’s place in literary history by examining the work of a contemporary poet, Jorie Graham, whose poetry quotes from Stevens’s oeuvre and shows other marks of his influence. Woodland focuses on Graham's 1997 collection The Errancy and shows that her antiapocalyptic poetry involves a very different attitude toward the possibility of a radical break with a particular cultural or aesthetic stance.
Wallace Stevens and the Apocalyptic Mode, offering a new understanding of Stevens’s position in literary history, will greatly interest literary scholars and students.
What is the relationship between history and fiction in a place with a contentious past? And of what concern is gender in the telling of stories about that past?
Writing Women in Central America explores these questions as it considers key Central American texts. This study analyzes how authors appropriate history to confront the rhetoric of the state, global economic powers, and even dissident groups within their own cultures. Laura Barbas-Rhoden winds a common thread in the literary imaginations of Claribel Alegría, Rosario Aguilar, Gioconda Belli, and Tatiana Lobo and shows how these writers offer provocative supplements to the historical record.
Writing Women in Central America considers more than a dozen narratives in which the authors craft their own interpretations of history to make room for women, indigenous peoples, and Afro-Latin Americans. Some of the texts reveal silences in the narratives of empire- and nation-building. Others reinterpret events to highlight the struggle of marginalized peoples for dignity and humanity in the face of oppression. All confront the ways in which stories have been told about the past.
Yet ultimately, Professor Barbas-Rhoden asserts, all concern the present and the future. As seen in Writing Women in Central America, though their fictions are historical, the writers direct their readers beyond the present toward a more just future for all who live in Central America.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press