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459 books match the query 'Literature' and 7 start with g

cover of Gendering Bodies/Performing Art: Dance and Literature in Early Twentieth-Century British Culture

Gendering Bodies/Performing Art

Dance and Literature in Early Twentieth-Century British Culture

Amy Koritz

University of Michigan Press, 1995

Gendering Bodies / Performing Art is the first book that attempts a conceptual integration of dance and literary history in British culture. It attempts to make visible the role of dance in creating, reinforcing, and challenging developments in aesthetic practice and ideology in which both dance and literature participated. Koritz integrates chapters on dance and dancers- from music hall ballet girls of the 1890s to the prestigious season of Diaghilev's Russian Ballet- with discussions on how major literary figures such as Oscar Wilde, W.B. Yeats, George Bernard Shaw, and T.S. Eliot used dance to further their own aesthetic agendas. In doing so, she provides an illuminating analysis of the connections between literature and dance, and explores the ways in which these two arts actively engaged in cultural processes encompassing both. ". . . provocative and stimulating . . . an invaluable addition to the work that is already available on turn-of-century theater/culture. . . ."--Vivien Gardner, Manchester University "Reaching between the poles of popular music hall and the Ballet Russe, Koritz addresses a series of interrelated, mutually informing discourses in which we overhear the language of the literary community in its accolades and in its outcries. Koritz's book will prove useful to a wide variety of readers; many scholars of English literature will undoubtedly use this book to the fullest, turning to it again and again as a contextual primer for performance issues in their field."--Cheryl Herr, University of Iowa Amy Koritz is Co-Director of the Cultural Studies Program and Assistant Professor of English, Tulane University.
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cover of Genealogy and Literature

Genealogy and Literature

Lee Quinby, Editor

University of Minnesota Press, 1995

Genealogy and Literature was first published in 1995. 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.

Traditionalists insist that literature transcends culture. Others counter that it is subversive by nature. By challenging both claims, Genealogy and Literature reveals the importance of literature for understanding dominant and often violent power/knowledge relations within a given society.

The authors explore the ways in which literature functions as a cultural practice, the links between death and literature as a field of discourse, and the possibilities of dismantling modes of bodily regulation. Through wide-ranging investigations of writing from England, France, Nigeria, Peru, Japan, and the United States, they reinvigorate the study of literature as a means of understanding the complexities of everyday experience.

Contributors: Claudette Kemper Columbus, Lennard J. Davis, Simon During, Michel Foucault, Ellen J. Goldner, Tom Hayes, Kate Mehuron, Donald Mengay, Imafedia Okhamafe, Lee Quinby, José David Saldivar, Malini Johar Schueller.

Lee Quinby is professor of English and American studies at Hobart and William Smith Colleges. She is the author of Anti-Apocalypse: Exercises in Genealogical Criticism (Minnesota, 1994).

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cover of Georg Lukacs and Thomas Mann: A Study in the Sociology of Literature

Georg Lukacs and Thomas Mann

A Study in the Sociology of Literature

Marcus, Judith

University of Massachusetts Press, 1987

Georg Lukács, the philosopher and literary critic, and Thomas Mann, the creative artist were two towering figures in the twentieth-century European intellectual life. Although they enjoyed a fruitful literary relationship, the two men never established an intimate friendship. In fact, Lukács once said that the only “dark spot” and “unsolved mystery” in his life was Mann’s life-long unresponsiveness to him as a bad person. Based primarily on Lukács, Katja Mann, Ernst Bloch, Arnold Hauser, and others, Part I of this study traces the development of “spiritual-intellectual symbiosis” between Lukács and Mann that lasted at least until the First World War. Part 2 turns to the question of the inspirational sources for Mann’s fictional characters, Leo Naphta, in his novel The Magic Mountain. Exploring the claim that Lukács himself was the model for his protagonist, Judith Marcus looks at the “Jewish intellectual” as an ideal type throughout Mann’s oeuvre. She concludes that Naphta’s totalitarian personality was inspired by the radicalism, rigidity, dogmatism, and asceticism of the young, then non-Marxist Lukács, and that is was in part these very traits in Lukács that stymied the growth of personal intimacy between the two men.

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cover of George Eliot's Dialogue with John Milton

George Eliot's Dialogue with John Milton

Anna K. Nardo

University of Missouri Press, 2003

In George Eliot’s Dialogue with John Milton, Anna K. Nardo details how Eliot reimagined Milton’s life and art to write epic novels for an age of unbelief. Nardo demonstrates that Eliot directly engaged Milton’s poetry, prose, and the well-known legends of his life—transposing, reframing, regendering, and thus testing both the stories told about Milton and the stories Milton told.
In Romola and Middlemarch, Eliot’s contemporary audience would immediately have recognized in her heroines’ stories the plight of Milton’s daughters—enlisted as readers for a blind poet and scholar. By evoking the well-known legends of Milton’s life in these novels, Eliot places Milton in dialogue with himself in order to imagine new possibilities. In Romola, a daughter uses what she has learned from one Miltonic father to liberate herself from subjugation to the other, and in Middlemarch, Eliot tests Milton’s fundamental assumptions about gender and knowledge by evoking, then reframing scenes from his life and his epic Paradise Lost.
This strategy for establishing a dialogue with authoritative discourse, which Eliot evolved in midcareer, is complex and elegant. Eliot’s first full-length novel, however, poses a direct challenge to the pastoral assumptions of Milton’s “L’Allegro” and “Il Penseroso”—a challenge that she extends to the theology of Milton’s epic of a lost pastoral paradise. In Adam Bede, Eliot summons Miltonic patterns into situations that expose their absence, leaving not the denial of these patterns, but their echo. Having separated Milton’s characteristic patterns of choice from his theology, Eliot then began to experiment with transformations of the Miltonic hero. By reimagining the story of the virtuous Lady of Comus, Eliot discovers the possibility for a heroic deliverance for the beleaguered heroine of The Mill on the Floss. In Felix Holt and Daniel Deronda, she first characterizes a male protagonist as a Miltonic hero, and then confronts her female, rather than her male, protagonist with the trials faced by that hero.
In these complex transformations, we see Eliot’s strenuous and lifelong dialogue with Milton—a dialogue that liberated Eliot’s imagination. The author shows that Eliot opens the authoritative discourse by and about Milton to new possibilities envisioned by a towering female intellect. Scholars of both seventeenth-century and nineteenth-century British literature, especially those specializing in Eliot or Milton, as well as theorists engaged in the ongoing debate about intertextuality, will find this book of great interest.
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cover of Getting It Right: Language, Literature, and Ethics

Getting It Right

Language, Literature, and Ethics

Geoffrey Galt Harpham

University of Chicago Press, 1992

In a critical scene deeply troubled by questions of justice and responsibility, and beset by political and moral scandals, no issue in recent years has been more urgent or more unsettled than the question of ethics. Geoffrey Galt Harpham, whose previous book, The Ascetic Imperative in Culture and Criticism, was one of the first to announce the critical renewal of ethics, attempts in this new book to explain why ethical questions resist settlement. He urges a new account of ethics not as a stable set of principles, values, or prescriptions, but as a variable factor of "imperativity" immanent in language, analysis, narrative, and creation.
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cover of Guidelines on Subject Access to Individual Works of Fiction, Drama, Etc.

Guidelines on Subject Access to Individual Works of Fiction, Drama, Etc.

American Library Association, 2000

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cover of Gunshots at the Fiesta: Literature and Politics in Latin America

Gunshots at the Fiesta

Literature and Politics in Latin America

Maarten van Delden

Vanderbilt University Press, 2009

The product of a unique collaboration between a literary critic (Van Delden) and a political scientist (Grenier), this book looks at the relationship between literature and politics in Latin America, a region where these two domains exist in closer proximity than perhaps anywhere else in the Western world. The apparently seamless blending of literature and politics is reflected in the explicitly political content of much of the continent's writing, as well as in the highly visible political roles played by many Latin American intellectuals.

Yet the authors of this book argue that the relationship between the two realms is much more complex and fraught with tension than is nowadays recognized. In examining these tensions, and in revealing the diverse ways in which literature and politics intersect in the Latin American cultural tradition, Gunshots at the Fiesta offers a lively challenge to the current tendency--especially strong in the U.S. academy--to read Latin American literature through a narrowly political prism.

The authors argue that one can only understand the nature of the dialogue between literature and politics if one begins by recognizing the different logics that operate in these different domains. Using this idea of the different logics of politics and literature as a guiding thread, Van Delden and Grenier offer bold new readings of major authors such as José Martí, Octavio Paz, Carlos Fuentes, Gabriel García Márquez, and Mario Vargas Llosa, as well as compelling interpretations of works by less-frequently-discussed figures such as Claribel Alegría, Marisol Martín del Campo and Víctor Hugo Rascón Banda.
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