Ecofeminist Literary Criticism is the first collection of its
kind: a diverse anthology that explores both how ecofeminism can enrich
literary criticism and how literary criticism can contribute to ecofeminist
theory and activism.
Ecofeminism is a practical movement for social change that discerns interconnections
among all forms of oppression: the exploitation of nature, the oppression
of women, class exploitation, racism, colonialism. Against binary divisions
such as self/other, culture/nature, man/woman, humans/animals, and white/non-white,
ecofeminist theory asserts that human identity is shaped by more fluid
relationships and by an acknowledgment of both connection and difference.
Once considered the province of philosophy and women's studies, ecofeminism
in recent years has been incorporated into a broader spectrum of academic
discourse. Ecofeminist Literary Criticism assembles some of the
most insightful advocates of this perspective to illuminate ecofeminism
as a valuable component of literary criticism.
For at least two decades the career of Edward Said has defined what it means to be a public intellectual today. Although attacked as a terrorist and derided as a fraud for his work on behalf of his fellow Palestinians, Said’s importance extends far beyond his political activism. In this volume a distinguished group of scholars assesses nearly every aspect of Said’s work—his contributions to postcolonial theory, his work on racism and ethnicity, his aesthetics and his resistance to the aestheticization of politics, his concepts of figuration, his assessment of the role of the exile in a metropolitan culture, and his work on music and the visual arts. In two separate interviews, Said himself comments on a variety of topics, among them the response of the American Jewish community to his political efforts in the Middle East. Yet even as the Palestinian struggle finds a central place in his work, it is essential—as the contributors demonstrate—to see that this struggle rests on and gives power to his general "critique of colonizers" and is not simply the outgrowth of a local nationalism. Perhaps more than any other person in the United States, Said has changed how the U.S. media and American intellectuals must think about and represent Palestinians, Islam, and the Middle East. Most importantly, this change arises not as a result of political action but out of a potent humanism—a breadth of knowledge and insight that has nourished many fields of inquiry. Originally a special issue of boundary 2, the book includes new articles on minority culture and on orientalism in music, as well as an interview with Said by Jacqueline Rose. Supporting the claim that the last third of the twentieth century can be called the "Age of Said," this collection will enlighten and engage students in virtually any field of humanistic study.
Contributors. Jonathan Arac, Paul A. Bové, Terry Cochran, Barbara Harlow, Kojin Karatani, Rashid I. Khalidi, Sabu Kohsu, Ralph Locke, Mustapha Marrouchi, Jim Merod, W. J. T. Mitchell, Aamir R. Mufti, Jacqueline Rose, Edward W. Said, Gayatri Chakravorty Spivak, Lindsay Waters
Since the Renaissance, what has been considered the “best” style of writing has always been connected with the dominant cultural agenda of the time. In this book, Kathryn Flannery offers a demystifying perspective on theorists who have argued for an essential distinction between “content” and “style,” and focuses on the importance of understanding written prose style as a cultural asset. She addresses the development of prose criticism, the evolution of English teaching, the history of Francis Bacon and Richard Hooker's writing, and a modern discourse on stylistics.
Empire Burlesque traces the emergence of the contemporary global context within which American critical identity is formed. Daniel T. O’Hara argues that globalization has had a markedly negative impact on American cultural criticism, circumscribing both its material and imaginative potential, reducing much of it to absurdity. By highlighting the spectacle of its own self-parody, O’Hara aims to shock U.S. cultural criticism back into a sense of ethical responsibility.
Empire Burlesque presents several interrelated analyses through readings of a range of writers and cultural figures including Henry James, Freud, Said, De Man, Derrida, and Cordwainer Smith (an academic, spy, and classic 1950s and 1960s science fiction writer). It describes the debilitating effects of globalization on the university in general and the field of literary studies in particular, it critiques literary studies’ embrace of globalization theory in the name of a blind and vacant modernization, and it meditates on the ways critical reading and writing can facilitate an imaginative alternative to institutionalized practices of modernization. Drawing on Lacanian psychoanalytical theory, it diagnoses contemporary American Studies as typically driven by the mindless abjection and transference of professional identities.
A provocative commentary on contemporary cultural criticism, Empire Burlesque will inform debates on the American university across the humanities, particularly among those in literary criticism, cultural studies, and American studies.
In this powerful cultural critique, Ariel Dorfman explores the political and social implications of the smiling faces that inhabit familiar books, comics, and magazines. He reveals the ideological messages conveyed in works of popular culture such as the Donald Duck comics, the Babar children’s books, and Reader’s Digest magazine. The Empire’s Old Clothes was widely praised when it was first published in 1983. This edition, including a new preface by the author, makes a contemporary classic newly available.
Of all developments surrounding hypermedia, none has been as hotly or frequently debated as the conjunction of fiction and digital technology. J. Yellowlees Douglas considers the implications of this union. She looks at the new light that interactive narratives may shed on theories of reading and interpretation and the possibilities for hypertext novels, World Wide Web-based short stories, and cinematic, interactive narratives on CD-ROM. She confronts questions that are at the center of the current debate: Does an interactive story demand too much from readers? Does the concept of readerly choice destroy the integrity of an author's vision? Does interactivity turn reading fiction from "play" into "work"--too much work? Will hypertext fiction overtake the novel as a form of art or entertainment? And what might future interactive books look like?
The book examines criticism on interactive fiction from both proponents and skeptics and examines similarities and differences between print and hypertext fiction. It looks closely at critically acclaimed interactive works, including Stuart Moulthrop's Victory Garden and Michael Joyce's Afternoon: A Story that illuminate how these hypertext narratives "work." While she sees this as a still-evolving technology and medium, the author identifies possible developments for the future of storytelling from outstanding examples of Web-based fiction and CD-ROM narratives, possibilities that will enable narratives to both portray the world with greater realism an to transcend the boundaries of novels and films, character and plot alike.
Written to be accessible to a wide range of readers, this lively and accessibly-written volume will appeal to those interested in technology and cyberculture, as well as to readers familiar with literary criticism and modern fiction.
J. Yellowlees Douglas is the Director of the William and Grace Dial Center for Written and Oral Communication, University of Florida. She is the author of numerous articles and essays on the subject of hypertext and interactive literature.
In The Errant Art of Moby-Dick, one of America’s most distinguished critics reexamines Melville’s monumental novel and turns the occasion into a meditation on the history and implications of canon formation. In Moby-Dick—a work virtually ignored and discredited at the time of its publication—William V. Spanos uncovers a text remarkably suited as a foundation for a "New Americanist" critique of the ideology based on Puritan origins that was codified in the canon established by "Old Americanist" critics from F. O. Matthiessen to Lionel Trilling. But Spanos also shows, with the novel still as his focus, the limitations of this "New Americanist" discourse and its failure to escape the totalizing imperial perspective it finds in its predecessor. Combining Heideggerian ontology with a sociopolitical perspective derived primarily from Foucault, the reading of Moby-Dick that forms the center of this book demonstrates that the traditional identification of Melville’s novel as a "romance" renders it complicitous in the discourse of the Cold War. At the same time, Spanos shows how New Americanist criticism overlooks the degree to which Moby-Dick anticipates not only America’s self-representation as the savior of the world against communism, but also the emergent postmodern and anti-imperial discourse deployed against such an image. Spanos’s critique reveals the extraordinary relevance of Melville’s novel as a post-Cold War text, foreshadowing not only the self-destructive end of the historical formation of the American cultural identity in the genocidal assault on Vietnam, but also the reactionary labeling of the current era as "the end of history." This provocative and challenging study presents not only a new view of the development of literary history in the United States, but a devastating critique of the genealogy of ideology in the American cultural establishment.
What accounts for the power of stories to both entertain and illuminate? This question has long compelled the attention of storytellers and students of literature alike, and over the past several decades it has opened up broader dialogues about the nature of culture and interpretation. This third edition of the bestselling Essentials of the Theory of Fiction provides a comprehensive view of the theory of fiction from the nineteenth century through modernism and postmodernism to the present. It offers a sample of major theories of fictional technique while emphasizing recent developments in literary criticism. The essays cover a variety of topics, including voice, point of view, narration, sequencing, gender, and race. Ten new selections address issues such as oral memory in African American fiction, temporality, queer theory, magical realism, interactive narratives, and the effect of virtual technologies on literature. For students and generalists alike, Essentials of the Theory of Fiction is an invaluable resource for understanding how fiction works.
Contributors. M. M. Bakhtin, John Barth, Roland Barthes, Wayne Booth, John Brenkman, Peter Brooks, Catherine Burgass, Seymour Chatman, J. Yellowlees Douglas, Rachel Blau DuPlessis, Wendy B. Faris, Barbara Foley, E. M. Forster, Joseph Frank, Joanne S. Frye, William H. Gass, Henry Louis Gates Jr., Gérard Genette, Ursula K. Heise, Michael J. Hoffman, Linda Hutcheon, Henry James, Susan S. Lanser, Helen Lock, Georg Lukács, Patrick D. Murphy, Ruth Ronen, Joseph Tabbi, Jon Thiem, Tzvetan Todorov, Virginia Woolf
This second edition of Essentials of the Theory of Fiction provides a comprehensive view of the theory of fiction from the nineteenth century, through modernism and postmodernism, to the present. Expanded and revised, it has new selections from contemporary theorists, including Henry Louis Gates Jr., Peter Brooks, Linda Hutcheon, David Lodge, Barbara Foley, and others.
Selections from: M. M. Bakhtin, John Barth, Roland Barthes, Wayne Booth, Peter Brooks, Seymour Chatman, Rachel Blau DuPlessis, Suzanne C. Ferguson, Barbara Foley, E. M. Forster, Joseph Frank, William Freedman, Norman Friedman, Joanne S. Frye, William H. Gass, Henry Louis Gates Jr., Gérard Genette, J. Arthur Honeywell, Linda Hutcheon, Henry James, Susan S. Lanser, Mitchell A. Leaska, George Levine, David Lodge, Georg Lukács, Gerald Prince, Patrocinio P. Schweickart, Tzvetan Todorov, Lionel Trilling, and Virginia Woolf
In Ethics and the Dynamic Observer Narrator: Reckoning with Past and Present in German Literature, Katra A. Byram proposes a new category—the dynamic observer form—to describe a narrative situation that emerges when stories about others become an avenue to negotiate a narrator’s own identity across past and present. Focusing on German-language fiction from the nineteenth and twentieth centuries, Byram demonstrates how the dynamic observer form highlights historical tensions and explores the nexus of history, identity, narrative, and ethics in the modern moment. 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.