In this first general theory for the analysis of popular literary formulas, John G. Cawelti reveals the artistry that underlies the best in formulaic literature. Cawelti discusses such seemingly diverse works as Mario Puzo's The Godfather, Dorothy Sayers's The Nine Tailors, and Owen Wister's The Virginian in the light of his hypotheses about the cultural function of formula literature. He describes the most important artistic characteristics of popular formula stories and the differences between this literature and that commonly labeled "high" or "serious" literature. He also defines the archetypal patterns of adventure, mystery, romance, melodrama, and fantasy, and offers a tentative account of their basis in human psychology.
The Adventures of Lindamira was first published in 1949. 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 Adventures of Lindamira, A Lady of Quality. Written by her own hand, to her Friend in the Country. In IV Parts. Revised and Corrected by Mr. Tho. Brown (London, 1702) is a very rare but important and interesting early English novel. This work was reissued in 1713 as The Lover's Secretary: or the Adventures of Lindamira, and again, with the same title, in 1734, 1745, and 1751.
Lindamira is remarkable historically as one of the earliest epistolary novels in English and also as one of the first pieces of extended prose fiction to enter the gap between the risque, realistic romance on one hand and the artificial French romance of court life on the other. The book is entertaining and compares favorably in naturalness, humor, and plausibility with the work of the contemporary Mrs. Behn, Congreve, and even Defoe.
Most historians have been unfamiliar with the work for the good reason that few copies have survived. The British Museum, Yale, University of Pennsylvania, Newberry, and Brown University have copies of the second or later edition. The only known copy of the first edition is in the Library of the University of Minnesota, and it is from this copy of the first edition that the University of Minnesota Press has reprinted this edition.
An unexpected and valuable critique of community that points out its complicity with capitalism.
Community is almost always invoked as an unequivocal good, an indicator of a high quality of life, caring, selflessness, belonging. Into this common portrayal, Against the Romance of Community introduces an uncommon note of caution, a penetrating, sorely needed sense of what, precisely, we are doing when we call upon this ideal.
Miranda Joseph explores sites where the ideal of community relentlessly recurs, from debates over art and culture in the popular media, to the discourses and practices of nonprofit and nongovernmental organizations, to contemporary narratives of economic transformation or "globalization." She shows how community legitimates the social hierarchies of gender, race, nation, and sexuality that capitalism implicitly requires.
Joseph argues that social formations, including community, are constituted through the performativity of production. This strategy makes it possible to understand connections between identities and communities that would otherwise seem disconnected: gay consumers in the United States and Mexican maquiladora workers; Christian right "family values" and Asian "crony capitalism." Exposing the complicity of social practices, identities, and communities with capitalism, this truly constructive critique opens the possibility of genuine alliances across such differences.
Miranda Joseph is associate professor of women's studies at the University of Arizona.
The curious paradox of romance is that, throughout its history, this genre has been dismissed as trivial and unintellectual, yet people have never ceased to flock to it with enthusiasm and even fervor. In contemporary contexts, we devour popular romance and fantasy novels like The Lord of the Rings, Harry Potter, and Game of Thrones, reference them in conversations, and create online communities to expound, passionately and intelligently, upon their characters and worlds. But romance is “unrealistic,” critics say, doing readers a disservice by not accurately representing human experiences. It is considered by some to be a distraction from real literature, a distraction from real life, and little more.
Yet is it possible that romance is expressing a truth—and a truth unrecognized by realist genres? The Arthurian literature of the Middle Ages, Karen Sullivan argues, consistently ventriloquizes in its pages the criticisms that were being made of romance at the time, and implicitly defends itself against those criticisms. The Danger of Romance shows that the conviction that ordinary reality is the only reality is itself an assumption, and one that can blind those who hold it to the extraordinary phenomena that exist around them. It demonstrates that that which is rare, ephemeral, and inexplicable is no less real than that which is commonplace, long-lasting, and easily accounted for. If romance continues to appeal to audiences today, whether in its Arthurian prototype or in its more recent incarnations, it is because it confirms the perception—or even the hope—of a beauty and truth in the world that realist genres deny.
Set in the historic Indian city of Lucknow, rich in its classical musical and cultural traditions, this novel weaves in, exquisitely, the themes of spirituality and sensuousness, the divine and the carnal, decay and regeneration.
The backdrop is one of contemporary India, where this story plays out. The story is that of Sarika, a young Indian music prodigy. Through the unique lens of the music world, the story examines the relationships of guru and pupil, parent and child, husband and wife and, finally, the artist within her world.
Is romance more important to women in college than grades are? Why do so many women enter college with strong academic backgrounds and firm career goals but leave with dramatically scaled-down ambitions? Dorothy C. Holland and Margaret A. Eisenhart expose a pervasive "culture of romance" on campus: a high-pressure peer system that propels women into a world where their attractiveness to men counts most.
As a young, deaf Jewish woman living in a small town in Michigan in 1942, Sandra Horowitz felt deeply frustrated by her limited prospects. Even though she had just graduated from junior college, she knew that she had two strikes against her in fulfilling her dream to become a veterinarian. Better to marry Jacob Winter, her parents urged her, a deaf Jewish man who made a good living. Then, Sandra met Rudy Townsend, a hearing soldier on leave before shipping out to the war in Europe.
In just four days, both Sandra and Rudy’s worlds were turned upside down. Sandra’s parents feared him for being hearing and a Gentile, while Rudy’s parents expressed openly their bias against her ethnic background and her deafness. Even so, Sandra and Rudy soon realized that they had fallen in love, deeply and passionately. As they shared the brief time they had together, they learned about each other’s dreams for the future — Sandra’s desire to be a vet and Rudy’s determination to serve in Congress. Then, Rudy had to leave for the war.
Philip Zazove’s novel Four Days in Michigan captures perfectly the power of irrepressible love between two individuals from opposite backgrounds. The struggles they encounter in an era when such differences were never more sharply drawn also reveal great detail about deaf and hearing life. Despite all, their triumph comes ultimately because of their long-lasting individual respect and love.
This handbook offers a synopsis of the regular changes that Latin words underwent in the course of their evolution into modern Romance languages (Italian, Spanish, Portuguese, and French, with their English cognates). Although it is intended for the nonspecialist, students of Romance philology will find it useful as a ready reference and as a source of abundant examples of Latin sound changes.
The synopsis is presented in the form of separate alphabetical charts for each major sound change. The rules, stated as simply as possible, do not generally explain the evolution of the changes, but only the end results. For those desiring further information, there are notes after most rules outlining exceptions to or modifications of that rule and often sketching successive stages in the development of the sound. Several minor or sporadic sound changes are also treated in note form. Each chart is supplemented by a list of additional words illustrating the same sound change.
From Latin to Roman in Sound Charts has been used successfully as a graduate level text for such courses as History of Spanish, History of French, and Romance Linguistics.
Grace Period: A Novel
Gerald W. Haslam University of Nevada Press, 2006 Library of Congress PS3558.A724G73 2006 | Dewey Decimal 813.54
A masterpiece by one of the West’s best-loved authorsJust when Sacramento journalist Marty Martinez thinks his life can’t get any worse, it does. His beloved son has died of AIDS, his wife has divorced him and joined a cult, and his daughter blames him for the disintegration of their family. Then a chance medical examination reveals that he has prostate cancer. Marty faces his new role as a cancer patient with awkward grit and desperation. He is a sympathetic, utterly convincing character seeking faith in a Catholic Church as troubled as he is. He brings increased intensity to his career as he investigates a far-reaching political scandal, reunites his family in unexpected ways, and finds love with a fellow cancer patient. Grace Period is a profound and sometimes hilarious novel about living with serious illness. Marty copes with fear and the painful, sometimes embarrassing, treatment of his disease, but instead of winding down his life he finds fresh purpose and a joyful new love. Haslam brilliantly depicts the complexities of everyday life and the intricate, sometimes tortured bonds of family and friendship. In Grace Period, Haslam shows us that existence at the precarious edge of life offers not only pain and loss but hope, a chance at redemption, love, and even happiness. Grace Period is his masterwork.
In romances—Renaissance England’s version of the fantasy novel—characters often discover books that turn out to be magical or prophetic, and to offer insights into their readers’ selves. The Immaterial Book examines scenes of reading in important romance texts across genres: Spenser’s Faerie Queene, Shakespeare’s Cymbeline and The Tempest, Wroth’s Urania, and Cervantes’ Don Quixote. It offers a response to “material book studies” by calling for a new focus on imaginary or “immaterial” books and argues that early modern romance authors, rather than replicating contemporary reading practices within their texts, are reviving ancient and medieval ideas of the book as a conceptual framework, which they use to investigate urgent, new ideas about the self and the self-conscious mind.
As late as the 1960s, states could legally punish minorities who either had sex with or married persons outside of their racial groups. In this first comprehensive study of the legal regulation of interracial relationships, Rachel Moran grapples with the consequences of that history, candidly confronting its profound effects on not only conceptions of race and identity, but on ideas about sex, marriage, and family.
"A good introduction to an issue too often overlooked. . . . The writing is clear and accessible, the evidence is evocative, and the ideas are challenging."—Beth Kiyoko Jamieson, Law and Politics Book Review
"U. S. government bodies have tried to regulate interracial intimacy from the day Pocahontas married John Rolfe up through Loving v. Virginia, which found antimiscegentation laws unconstitutional in 1967. . . . The weirder anecdotes from our racial history enliven this study, which is likely to become a classic in its field."—Publishers Weekly
"Moran examines the history of U. S. regulation of cross-racial romance, considering the impact of that regulation on the autonomy of individuals and families as well as on racial identity and equality. . . . She is attuned to the nuances of race in this polyglot nation, and supplies thoughtful analysis of these nuances."—Booklist
In many ways, divorce is a quintessentially personal decision—the choice to leave a marriage that causes harm or feels unfulfilling to the two people involved. But anyone who has gone through a divorce knows the additional public dimensions of breaking up, from intense shame and societal criticism to friends’ and relatives’ unsolicited advice. In Intimate Disconnections, Allison Alexy tells the fascinating story of the changing norms surrounding divorce in Japan in the early 2000s, when sudden demographic and social changes made it a newly visible and viable option. Not only will one of three Japanese marriages today end in divorce, but divorces are suddenly much more likely to be initiated by women who cite new standards for intimacy as their motivation. As people across Japan now consider divorcing their spouses, or work to avoid separation, they face complicated questions about the risks and possibilities marriage brings: How can couples be intimate without becoming suffocatingly close? How should they build loving relationships when older models are no longer feasible? What do you do, both legally and socially, when you just can’t take it anymore?
Relating the intensely personal stories from people experiencing different stages of divorce, Alexy provides a rich ethnography of Japan while also speaking more broadly to contemporary visions of love and marriage during an era in which neoliberal values are prompting wide-ranging transformations in homes across the globe.
Islay: A Novel
Douglas Bullard Gallaudet University Press, 2013 Library of Congress PS3552.U4237I85 2013 | Dewey Decimal 813.54
Now, a new edition of the classic novel Islay promises to entertain a contemporary audience with its Deaf American dream first conceived by Douglas Bullard in 1986. Islay is the name of an imaginary island state coveted by Lyson Sulla, a Deaf man who is tired of feeling that “hearing think deaf means dumb, pat head.” Sulla signs this to his wife Mary in explanation of his desire to tum Islay into a state solely for Deaf people, with himself as governor. From there, his peripatetic quest begins.
Sulla initiates his plan by driving to Islay to survey the lay of the land. There, he meets Gene Owls, another Deaf man who also has designs on the island. Sulla then embarks on travels around the nation recruiting Deaf people to join his crusade. Along the way, he meets a Deaf doctor, a bowling alley owner, a family of peddlers, a Deaf minister, and a willing businessman. Far from a heroic character, Sulla engages in each encounter in an earthy, self-sewing fashion that sends up all parties involved, hearing and Deaf.
Islay uniquely blends classic English forms of satire with the direct, down-to-earth expression of American Sign Language ingenuously rendered throughout. Deaf himself, Bullard has created a wonderfully amusing story that features Deaf people seeking their American dream in a manner both serious and joyous at the same time.
It Does Not Die: A Romance
Maitreyi Devi University of Chicago Press, 1994 Library of Congress PK1718.M24244A26 1994 | Dewey Decimal 891.4436
Precocious, a poet, a philosopher's daughter, Maitreyi Devi was sixteen years old in 1930 when Mircea Eliade came to Calcutta to study with her father. More than forty years passed before Devi read BengalNights, the novel Eliade had fashioned out of their encounter, only to find small details and phrases, even her given name, bringing back episodes and feelings she had spent decades trying to forget. ItDoes Not Die is Devi's response. In part a counter to Eliade's fantasies, the book is also a moving account of a first love fraught with cultural tensions, of false starts and lasting regrets.
Proud of her intelligence, Maitreyi Devi's father had provided her with a fine and, for that time, remarkably liberal education — and encouraged his brilliant foreign student, Eliade, to study with her. "We were two good exhibits in his museum," Devi writes. They were also, as it turned out, deeply taken with each other. When their secret romance was discovered, Devi's father banished the young Eliade from their home.
Against a rich backdrop of life in an upper-caste Hindu household, Devi powerfully recreates the confusion of an over-educated child simultaneously confronting sex and the differences, not only between European and Indian cultures, but also between her mother's and father's view of what was right. Amid a tangle of misunderstandings, between a European man and an Indian girl, between student and teacher, husband and wife, father and daughter, she describes a romance unfolding in the face of cultural differences but finally succumbing to cultural constraints. On its own, It Does Not Die is a fascinating story of cultural conflict and thwarted love. Read together with Eliade's Bengal Nights, Devi's "romance" is a powerful study of what happens when the oppositions between innocence and experience, enchantment and disillusion, and cultural difference and colonial arrogance collide.
"In two novels written forty years apart, a man and a woman tell stories of their love. . . . Taken together they provide an unusually touching story of young love unable to prevail against an opposition whose strength was tragically buttressed by the uncertainties of a cultural divide."—Isabel Colegate, New York Times Book Review
"Recreates, with extraordinary vividness, the 16-year-old in love that she had been. . . . Maitreyi is entirely, disarmingly open about her emotions. . . . An impassioned plea for truth."—Anita Desai, New Republic
"Something between a reunion and a duel. Together they detonate the classic bipolarities: East-West, life-art, woman-man."—Richard Eder, New York Newsday
"One good confession deserves another. . . . Both books gracefully trace the authors' doomed love affair and its emotional aftermath."—Nina Mehta, Chicago Tribune
A crumbling marriage. An ancient mystery. And a way to change the past . . .
When archaeologist Aaron Keeler finds himself transported eighteen years backward in time, he becomes swept up in a strangely illicit liaison with his younger wife. A brilliant musician, Violet is captivated by the attentive, “weathered” version of her husband. The Aaron she recently married—an American expat—has become distant, absorbed by his excavation of a prehistoric site at Kilmartin Glen on Scotland’s west coast, where he will soon make the discovery that launches his career. As Aaron travels back and forth across the span of nearly two decades, with time passing in both worlds, he faces a threat to his revelatory dig, a crisis with the older Violet—mother of his two young children—and a sudden deterioration of his health. Meanwhile, Violet’s musical performances take on a resonance related to the secrets the two are uncovering in both time frames. With their children and Aaron’s lives at risk, he and Violet try to repair the damage before it’s too late.
A powerful delineation of the complex relationships in a traditional Indian family, between husband and wife, parents and daughter, brother and sister, and the joys and tragedies that grow within. A moving picture of friendships and social hierarchies played out against a backdrop some brutal and bizarre events that took place in Eastern India in the turbulent 1970s. An arresting cast of characters, some clinging to the vestiges of the British Raj, set in the shadow of the Himalayas and the teeming city of Kolkata.
Summer 1918. The First World War is drawing to a close when Léon Le Gall, a French teenager from Cherbourg who has dropped out of school and left home, falls in love with Louise Janvier. Both are severely wounded by German artillery fire, are separated, and believe each other to be dead. Briefly reunited two decades later, the two lovers are torn apart again by Louise's refusal to destroy Léon's marriage and by the German invasion of France. In occupied Paris during the Second World War, where Léon struggles against the abhorrent tasks imposed upon him by the SS, and the wilds of Africa, where Louise confronts the hardships of her primitive environment, they battle the vicissitudes of history and the passage of time for the survival of their love.
In November 1919, newspapers around the world alerted readers to a sensational new theory of the universe: Albert Einstein’s theory of relativity. Coming at a time of social, political, and economic upheaval, Einstein’s theory quickly became a rich cultural resource with many uses beyond physical theory. Media coverage of relativity in Britain took on qualities of pastiche and parody, as serious attempts to evaluate Einstein’s theory jostled with jokes and satires linking relativity to everything from railway budgets to religion. The image of a befuddled newspaper reader attempting to explain Einstein’s theory to his companions became a set piece in the popular press.
Loving Faster than Light focuses on the popular reception of relativity in Britain, demonstrating how abstract science came to be entangled with class politics, new media technology, changing sex relations, crime, cricket, and cinematography in the British imagination during the 1920s. Blending literary analysis with insights from the history of science, Katy Price reveals how cultural meanings for Einstein’s relativity were negotiated in newspapers with differing political agendas, popular science magazines, pulp fiction adventure and romance stories, detective plots, and esoteric love poetry. Loving Faster than Light is an essential read for anyone interested in popular science, the intersection of science and literature, and the social and cultural history of physics.
The Thackeray Edition proudly announces two additions to its collection: Catherine and The Luck of Barry Lyndon. The Thackeray Edition is the first full-scale scholarly edition of William Makepeace Thackeray's works to appear in over seventy years, and the only one ever to be based on an examination of manuscripts and relevant printed texts. It is also a concrete attempt to put into practice a theory of scholarly editing that gives new insight into Thackeray's own compositional process.
The Luck of Barry Lyndon, serialized in Fraser's Magazine in 1844, is a wonderfully hard-edged advance upon Thackeray's previous writing: a tour de force dramatization at novelistic length of the moral vacuity of its first person narrator. The inner workings of this narrator are far more complicated than in earlier Thackeray writings, and are presented in a far more subtle, yet not humorless, manner. The mock-Bildungsroman aspect of the novel is brought about by the non-enlightenment of the title-figure, his failure to find a meaningful love-relationship, and his inability to discover a calling that identifies both a significant direction for his individual existence and, at the same time, an appropriate accommodation to his duties to society. Achieved in brilliant, accomplished style, Barry Lyndon is a significant and progressive experiment in narration for Thackeray.
Sheldon F. Goldfarb is an independent scholar who received his Ph.D. from the University of British Columbia.
Edgar F. Harden is Professor of English, Simon Fraser University.
Peter L. Shillingsburg is Dean of Graduate Studies and Research, Lamar University.
The Medieval Castle was first published in 1991. 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.
Howard L. Terry wrote a novel between 1917 and 1922, which he donated to the Gallaudet University Archives in 1951. There it rested until a resurgence of interest in Deaf literature led to its recent rediscovery. Mickey’s Harvest: A Novel of a Deaf Boy’s Checkered Life recounts the rollicking tale of a young deaf man and how he learned to survive and thrive at the advent of the 20th century.
Mickey Dunmore’s story begins with the sinking of his father’s merchant sailing ship and ends with a cliffhanger in World War I. In school, after an illness caused his deafness, Mickey finds himself constantly fighting the hearing boys and later competing with the signing students when he attends a residential school for deaf students. In college, he and his best friend Dick Wagner leave early to travel the nation with the hobos, carnies, and grifters. In one town, they outfox a barker who was using a deaf girl to “read” the minds of their marks. Further on, they meet Bunny, the Mighty Mite deaf man who helps expose a hearing woman posing as deaf to scam sympathetic people. Mickey faces his greatest challenge when he falls in love with Marion Carrel, a deaf girl whose hearing father forbids their romance on eugenics grounds.
Terry, who became deaf at the age of 11, states from the outset that he means for his novel to reveal the biases confronting deaf people at the time. As a tonic, he populates Mickey’s Harvest with artistic, talented deaf individuals who engage readers in an earlier, colorful time as they “show their stuff.”
A woman meets a man and falls in love. She is sixty, a writer and lifelong New Yorker raised by garmentos. She thought this kind of thing wouldn’t happen again. He is English, so who knows what he thinks. He is fifty-six, a professor now living in Arizona, the son of a bespoke tailor. As the first of Laurie Stone’s linked stories begins, the writer contemplates what life would be like in the desert with the professor. As we learn how she became the person she is, we also come to know the artists and politics of the downtown scene of the ’70s, ’80s, and ’90s, a cultural milieu that remains alive in her. In sharply etched prose, Stone presents a woman constantly seduced by strangers, language, the streets— even a wildlife trail. Her characters realize that they feel at home in dislocation—in always living in two places at the same time: east and west, past and present, the bed and the grave (or copper urn). Love may not last, the writer knows. Then again, when has anything you thought about the future turned out right?
The writings of William Gilmore Simms (1806-1870) provide a sweeping fictional portrait of the colonial and antebellum South in all of its regional diversity. Simms's account of the region is more comprehensive than that of any other author of his time; he treats the major intellectual and social issues of the South and depicts the bonds and tensions among all of its inhabitants. By the mid-1840s Simms's novels were so well known that Edgar Allan Poe could call him "the best novelist which this country has, on the whole, produced." The thirteenth volume in the ongoing Arkansas Edition of the works of Simms, The Partisan is the first in order of publication of Simms's Revolutionary War romances. Although Simms took advantage of the novelist's prerogative to invent characters and events for his saga, he did so with a historian's eye, making extensive use of official histories; letters, diaries, and other documents; family traditions; and unpublished and published memoirs. Simms gives human interest to the novel's historical framework with two love triangles, mixing romantic conventions with gritty realism that outlines the four classes of Simms's ideal society. The Partisan is also remarkable among Simms's work for its use of symbols, indicating, perhaps, a new intention for the novel. The result is a satisfying work of literary art enlivened with adventure and humor while remaining true to the history behind it.
How do pictures tell stories? Why does the literary romance so often refer to paintings and other visual art objects? Beginning with these two seemingly unrelated questions, Wendy Steiner reveals an intricate exchange between the visual arts and the literary romance.
Romances violate the casual, temporal, and logical cohesiveness of realist novels, and they do so in part by depicting love as a state of suspension, a condition outside of time. Steiner argues that because Renaissance and post-Renaissance painting also represents a suspended moment of perception with "unnatural" clarity and compression of meaning, it readily serves the romance as a symbol of antirealism. Yet the atemporality of stopped-action painting was actually an attempt to achieve pictorial realism—the way things "really" look. It is this paradox that interests Steiner: to signal their departure from realism, romances evoke the symbol of "realistic" visual artwork. Steiner explores this problem through analyses of Keats, Hawthorne, Joyce, and Picasso. She then examines a return to narrative conventions in visual art in the twentieth century, in the work of Lichtenstein and Warhol, and speculates on the fate of pictorial storytelling and the romance in postmodern art. An aesthetic fantasia of sorts, this study combines theory and analysis to illuminate an unexpected interconnection between literature and the visual arts.
A sequel to ‘Krishna, A Love Story’, ‘Rahul’ is set against the backdrop of two critical events that impacted Indian political history in the late 1960s and early 1970s. One was the rise of a Maoist movement espousing the cause of landless farmers; the other, India’s war with Pakistan, which led to the creation of Bangladesh.
Like thousands of young students, many from affluent families, Rahul, himself the son of a landowner, is drawn to the Maoists. Eventually, the movement was infiltrated by the CIA. With he movement’s collapse, many Maoists (also known as Naxalites) found refuge in North America. Rahul was one such beneficiary.
This study of the rescue motif in popular American novels before World War I focuses on the rescue convention as part of the romantic plot of the novels. The rescue as a structured convention that controls the movement of the romantic plot appears in all types of domestic novels, gothics, dime novels, historical romances, and westerns.
Romance and the Erotics of Property examines contemporary popular romance from a number of different points of view, probing for codes and subtexts that sometimes exploit and sometimes contradict its surface tale of romantic attraction, frustration, longing, and fulfillment. Cohn argues that a full understanding of the contemporary romance requires an investigation of its literary and historical sources and analogues. Three principal sources are examined in the context of women's history in bourgeois society. Pride and Prejudice, Jane Erye, and Gone With the Wind demonstrate the development of romance fiction's themes, yet in all three the central love story is complicated by issues of property, the sign of male power. Jan Cohn further considers the development of the genre n the fictions of Harriet Lewis and May Agnes Fleming, prolific and popular American romance writers of the late nineteenth century who developed the role of the villain, thereby bringing into focus the sexual and economic struggles faced by the heroine. Romance and the Erotics of Property sets romance fiction against a historic and literary background, arguing that contemporary romance disguises as tales of love the subversive fantasies of female appropriation and male property and power.
Romance in HPSG
Edited by Sergio Balari and Luca Dini CSLI, 1997 Library of Congress P158.4.R66 1998
This book describes several aspects of syntax and semantics of romance languages assuming the point of view of a constraint-based, non-transformational linguistic theory, i.e. Head-driven Phrase Structure Grammar (HPSG). Besides the widening of the empirical coverage of HPSG the theory, its main significance consists in a refinement of the theory itself, on the basis of data from romance languages. It contains essays discussing phenomena from Catalan, French, Italian and Spanish.
The Romance of Commerce and Culture is a lively and provocative history of how art and intellect formed an alliance with consumer capitalism in the mid-twentieth century and put Aspen, Colorado, on the map.
The great American thinker Ralph Waldo Emerson and the influential German philosopher Friedrich Nietzsche, though writing in different eras and ultimately developing significantly different philosophies, both praised the individual's wish to be transformed, to be fully created for the first time. Emerson and Nietzsche challenge us to undertake the task of identity on our own, in order to see (in Nietzsche's phrase) “how one becomes what one is.”
David Mikics's The Romance of Individualism in Emerson and Nietzsche examines the argument, as well as the affinity, between these two philosophers. Nietzsche was an enthusiastic reader of Emerson and inherited from him an interest in provocation as a means of instruction, an understanding of the permanent importance of moods and transitory moments in our lives, and a sense of the revolutionary character of impulse. Both were deliberately outrageous thinkers, striving to shake us out of our complacency.
Rather than choosing between Emerson and Nietzsche, Professor Mikics attends to Nietzsche's struggle with Emerson's example and influence. Elegant in its delivery, The Romance of Individualism in Emerson and Nietzsche offers a significant commentary on the visions of several contemporary theorists whose interests intersect with those of Emerson and Nietzsche, especially Stanley Cavell, Jacques Lacan, Slavoj Zizek, and Harold Bloom.
In the United States miscegenation is not merely a subject of literature and popular culture. It is in many ways the foundation of contemporary imaginary community. The Romance of Race examines the role of minority women writers and reformers in the creation of our modern American multiculturalism.
The national identity of the United States was transformed between 1880 and 1930 due to mass immigration, imperial expansion, the rise of Jim Crow, and the beginning of the suffrage movement. A generation of women writers and reformers—particularly women of color—contributed to these debates by imagining new national narratives that put minorities at the center of American identity. Jane Addams, Pauline Hopkins, Onoto Watanna (Winnifred Eaton), María Cristina Mena, and Mourning Dove (Christine Quintasket) embraced the images of the United States—and increasingly the world—as an interracial nuclear family. They also reframed public debates through narratives depicting interracial encounters as longstanding, unacknowledged liaisons between white men and racialized women that produced an incestuous, mixed-race nation.
By mobilizing the sexual taboos of incest and miscegenation, these women writers created political allegories of kinship and community. Through their criticisms of the nation’s history of exploitation and colonization, they also imagined a more inclusive future. As Jolie A. Sheffer identifies the contemporary template for American multiculturalism in the works of turn-of-the century minority writers, she uncovers a much more radical history than has previously been considered.
For four decades, the American road narrative has been a significant and popular literary genre for expressing journeys of self discovery. These works have been used as springboards for authors to define our national identity, to explore opportunities to escape from the daily routine, and to express social protest. This comprehensive study of an important American art form examines how road narratives create dialogues between travelers, authors, and readers about who we are, what we value, and where we hope to be going.
Writers examined include Jack Kerouac, Jim Dodge, Ralph Waldo Emerson, William Least Heat Moon, Robert M. Pirsig, Henry Miller, Joan Didion, Mona Simpson, and Walt Whitman.
“The names of places lie upon the land and tell us where we are or where we have been or where we want to go. And so much more.”—From the introduction
Fifty years ago, educator and writer Robert E. Gard traveled across Wisconsin, learning the trivial, controversial, and landmark stories behind how cities, counties, and local places got their names. This volume records the fruits of Gard’s labors in an alphabetical listing of places from every corner of Wisconsin, and the stories behind their often-unusual names. Gard’s work provides an important snapshot of how Wisconsin residents of a bygone era came to understand the names of their towns and home places, many of which can no
longer be found on any map.
Celebrated rural historian Jerry Apps introduces this reprint of Gard’s work,
saying that in “some ways The Romance of Wisconsin Place Names is a reference book, a place where you can go to learn a little more about your home town. But in many ways it is much more than that, for it includes the stories of places throughout the state, submitted by the people who knew them. It is a book where story, people, and place all come together.”
At the tips of our forks and on our dinner plates, a buffet of botanical dalliance awaits us. Sex and food are intimately intertwined, and this relationship is nowhere more evident than among the plants that sustain us. From lascivious legumes to horny hot peppers, most of humanity’s calories and other nutrition come from seeds and fruits—the products of sex—or from flowers, the organs that make plant sex possible. Sex has also played an arm’s-length role in delivering plant food to our stomachs, as human handmade evolution (plant breeding, or artificial selection) has turned wild species into domesticated staples.
In Sex on the Kitchen Table, Norman C. Ellstrand takes us on a vegetable-laced tour of this entire sexual adventure. Starting with the love apple (otherwise known as the tomato) as a platform for understanding the kaleidoscopic ways that plants can engage in sex, successive chapters explore the sex lives of a range of food crops, including bananas, avocados, and beets, finally ending with genetically engineered squash—a controversial, virus-resistant vegetable created by a process that involves the most ancient form of sex. Peppered throughout are original illustrations and delicious recipes, from sweet and savory tomato pudding to banana puffed pancakes, avocado toast (of course), and both transgenic and non-GMO tacos.
An eye-opening medley of serious science, culinary delights, and humor, Sex on the Kitchen Table offers new insight into fornicating flowers, salacious squash, and what we owe to them. So as we sit down to dine and ready for that first bite, let us say a special grace for our vegetal vittles: let’s thank sex for getting them to our kitchen table.
One of the most important voices of the Harlem Renaissance, Claude McKay is largely recognized for his work during the 1920s, which includes a major collection of poems, Harlem Shadows, as well as a critically acclaimed novel, Home to Harlem. But McKay was never completely comfortable with his literary reputation during this period. Throughout his world travels, he saw himself as an English lyricist.
In this compelling examination of the life and works of this complex poet, novelist, journalist, and short story writer, Josh Gosciak sheds light on McKay’s literary contributions beyond his interactions with Harlem Renaissance artists and writers. Working within English literary traditions, McKay crafted a verse out of hybridity and diaspora. Gosciak shows how he reinvigorated a modern pastoral through his encounters with some of the major aesthetic and political movements of the late Victorian and early modern periods.
Exploring new archival material as well as many of McKay’s lesser known poetic works, TheShadowed Country provides a unique interpretation of the writings of this major author.
This bilingual edition, a parallel text in Old French and English, is based on a reexamination of the Old French manuscript, and makes Silence available to specialists and students in various fields of literature and women's studies.
The Roman de Silence, an Arthurian romance of the thirteenth century, tells of a girl raised as a boy, equally accomplished as a minstrel and knight, whose final task, the capture of Merlin, leads to her unmasking.
In the Middle Ages, religious crusaders took up arms, prayed, bade farewell to their families, and marched off to fight in holy wars. These Christian soldiers also created accounts of their lives in lyric poetry, putting words to the experience of personal sacrifice and the pious struggle associated with holy war. The crusaders affirmed their commitment to fighting to claim a distant land while revealing their feelings as they left behind their loved ones, homes, and earthly duties. Their poems and related visual works offer us insight into the crusaders’ lives and values at the boundaries of earthly and spiritual duties, body and soul, holy devotion and courtly love.
In The Subject of Crusade, Marisa Galvez offers a nuanced view of holy war and crusade poetry, reading these lyric works within a wider conversation with religion and culture. Arguing for an interdisciplinary treatment of crusade lyric, she shows how such poems are crucial for understanding the crusades as a complex cultural and historical phenomenon. Placing them in conversation with chronicles, knightly handbooks, artworks, and confessional and pastoral texts, she identifies a particular “crusade idiom” that emerged out of the conflict between pious and earthly duties. Galvez fashions an expanded understanding of the creative works made by crusaders to reveal their experiences, desires, ideologies, and reasons for taking up the cross.
Trade and Romance
Michael Murrin University of Chicago Press, 2013 Library of Congress PN682.O75M87 2013 | Dewey Decimal 809.9332
In Trade and Romance, Michael Murrin examines the complex relations between the expansion of trade in Asia and the production of heroic romance in Europe from the second half of the thirteenth century through the late seventeenth century. He shows how these tales of romance, ostensibly meant for the aristocracy, were important to the growing mercantile class as a way to gauge their own experiences in traveling to and trading in these exotic locales. Murrin also looks at the role that growing knowledge of geography played in the writing of the creative literature of the period, tracking how accurate, or inaccurate, these writers were in depicting far-flung destinations, from Iran and the Caspian Sea all the way to the Pacific.
With reference to an impressive range of major works in several languages—including the works of Marco Polo, Geoffrey Chaucer, Matteo Maria Boiardo, Luís de Camões, Fernão Mendes Pinto, Edmund Spenser, John Milton, and more—Murrin tracks numerous accounts by traders and merchants through the literature, first on the Silk Road, beginning in the mid-thirteenth century; then on the water route to India, Japan, and China via the Cape of Good Hope; and, finally, the overland route through Siberia to Beijing. All of these routes, originally used to exchange commodities, quickly became paths to knowledge as well, enabling information to pass, if sometimes vaguely and intermittently, between Europe and the Far East. These new tales of distant shores fired the imagination of Europe and made their way, with surprising accuracy, as Murrin shows, into the poetry of the period.
Urania: A Romance
Giulia Bigolina University of Chicago Press, 2004 Library of Congress PQ4610.B58U7313 2005 | Dewey Decimal 853.4
Presented for the first time in a critical English edition, Urania: A Romance provides modern readers with a rare glimpse into the novel and novella forms at a time when narrative genres were not only being invented but, in the hands of women like Giulia Bigolina (1518?-1569?), used as vehicles for literary experimentation.
The first known prose romance written by a woman in Italian, Bigolina's Urania centers on the monomaniacal love of a female character falling into melancholy when her beloved leaves her for a more beautiful woman. A tale that includes many of the conventions that would later become standards of the genre—cross-dressing, travel, epic skirmishes, and daring deeds—Urania also contains the earliest treatise on the worth of women.
Also included in this volume, the novella Giulia Camposampiero is the only extant part of a probable longer narrative written in the style of the Decameron. While employing some of those same gender and role reversals as Urania, including the privileging of heroic constancy in both men and women, it chronicles the tribulations that a couple undergoes until their secret marriage is publicly recognized.
The writings of William Gilmore Simms (1806–1870) provide a sweeping fictional portrait of the colonial and antebellum South in all of its regional diversity. Simms's account of the region is more comprehensive than that of any other author of his time; he treats the major intellectual and social issues of the South and depicts the bonds and tensions among all of its inhabitants. By the mid-1840s Simms's novels were so well known that Edgar Allan Poe could call him "the best novelist which this country has, on the whole, produced." Perhaps the darkest of Simms's novel-length works, Vasconselos (1853) presents a fictionalized account of one of the first European efforts to settle the land that would become the United States, the Hernando de Soto expedition of 1539. Set largely in Havana, Cuba, as the explorers prepare to embark, the work explores such themes as the marginalization of racial and national minorities, the historical abuse of women, and the tendency of absolute power to corrupt absolutely. In addition, Simms anticipates in this colonial romance the works of renowned scholars who would follow him, including the historian Frederick Jackson Turner and the entire formal scholarly field of psychology, which would take shape only long after the author's death.
Sarah Sutton and the Elliott brothers, Gabe and Joseph, grew up together, and, as teenagers, the brothers vie for Sarah's attention. When the Civil War starts, Gabe and Joseph enlist in the Union army. Sarah accompanies her father, a surgeon, and serves as a nurse in battlefield hospitals.
They reunite on the Sultana, a steamboat returning thousands of soldiers, many former prisoners of war, home. Tragedy strikes when the boilers explode and the ship sinks in the Mississippi River. What will happen next?