134 books match the query 'English-speaking countries' and 6 start with n

cover of NEW WOMAN AND THE EMPIRE

NEW WOMAN AND THE EMPIRE

Iveta Jusová

The Ohio State University Press, 2005

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cover of Native Intelligence: Aesthetics, Politics, and Postcolonial Literature

Native Intelligence

Aesthetics, Politics, and Postcolonial Literature

Deepika Bahri

University of Minnesota Press, 2003

A compelling reclamation of the place of aesthetics in postcolonial literature

Literature though it may be, postcolonial literature is studied and understood largely—and often solely—in social and political terms. In neglecting its aesthetic dimension, as this book forcefully demonstrates, we are overlooking not only an essential aspect of this literature but even a critical perspective on its sociopolitical function and value. In Native Intelligence, Deepika Bahri focuses on postcolonial literature’s formal and aesthetic negotiations with sociopolitical concerns.

How, Bahri asks, do aesthetic considerations contest the social function of postcolonial literature? In answering, her book takes on two tasks: First, it identifies the burden of representation borne by postcolonial literature through its progressive politicization. Second, it draws on Frankfurt School critical theory to reclaim a place for aesthetics in literary representation by closely engaging works of Rohinton Mistry, Salman Rushdie, and Arundhati Roy. Throughout, Bahri shows how attention to the aesthetic innovations and utopian impulses of postcolonial works uncovers their complex and uneven relationship to ideology, reanimating their potential to make novel contributions to the larger project of social liberation.
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cover of Nineteenth-Century Scottish Rhetoric: The American Connection

Nineteenth-Century Scottish Rhetoric

The American Connection

Winifred Bryan Horner

Southern Illinois University Press, 1992

Winifred Bryan Horner argues that an understanding of the changes that occurred in the content of nineteenth-century courses in logic, rhetoric, and belles lettres taught in Scottish universities provides important critical insight into the development of the twentieth-century American composition course, as well as courses in English literature and critical theory.

Because of the inaccessibility of primary materials documenting the changes in courses taught at Scottish universities, the impression remains that the nineteenth century represents a break with the traditional school curriculum rather than a logical transition to a new focus of study. Horner has discovered that the notes of students who attended these classes—meticulously transcribed records of the lectures that professors dictated in lieu of printed texts—provide reliable documentation of the content of courses taught during the period. Using these records, Horner traces the evolution of current traditional composition, developed in the United States in the first part of the twentieth century, from courses taught in nineteenth-century, northern Scottish universities. She locates the beginning of courses in English literature and belletristic composition in the southern schools, particularly Edinburgh.

Horner’s study opens new vistas for the study of the evolution of university curricula, especially the never before acknowledged influence of belletristric rhetoric on the development of the North American composition course.

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cover of Nineteenth-Century Women at the Movies: Adapting Classic Women's Fiction to Film

Nineteenth-Century Women at the Movies

Adapting Classic Women's Fiction to Film

Barbara Tepa Lupack

University of Wisconsin Press, 1999

Even in Hollywood’s world of blockbusters and special effects, there continues to be interest in “quieter” adaptations based on the works of writers of other eras, especially the classic novels of nineteenth-century women. Those novels emphasize strong female protagonists, fine language, and sensitivity to social nuances.
    This volume’s twelve essays offer critical insights not only into the visions of the novelist and the filmmaker but also into contemporary cultural concerns. The adaptations of novels by eight popular writers are analyzied: Mary Shelley, Jane Austen, Charlotte Brontë, Emily Brontë, Harriet Beecher Stowe, Louisa May Alcott, Ouida, and George Eliot.
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cover of No Place Else: Explorations in Utopian and Dystopian Fiction

No Place Else

Explorations in Utopian and Dystopian Fiction

Eric S Rabkin

Southern Illinois University Press, 1983

Writers have created fictions of social per­fection at least since Plato’s Republic. Sir Thomas More gave this thread of intel­lectual history a name when he called his contribution to it Utopia, Greek for noplace.

With each subsequent author cog­nizant of his predecessors and subject to altered real-world conditions which sug­gest ever-new causes for hope and alarm, “no place” changed. The fourteen essays presented in this book critically assess man’s fascination with and seeking for “no place.”

“In discussing these central fictions, the contributors see ‘no place’ from di­verse perspectives: the sociological, the psychological, the political, the aesthetic. In revealing the roots of these works, the contributors cast back along the whole length of utopian thought. Each essay stands alone; together, the essays make clear what ‘no place’ means today. While it may be true that ‘no place’ has always seemed elsewhere or elsewhen, in fact all utopian fiction whirls contemporary ac­tors through a costume dance no place else but here.”—from the Preface

The contributors are Eric S. Rabkin, B. G. Knepper, Thomas J.Remington, Gorman Beauchamp, William Matter, Ken Davis, Kenneth M. Roemer, Wil­liam Steinhoff, Howard Segal, Jack Zipes, Kathleen Woodward, Merritt Abrash, and James W. Bittner.

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cover of Novel Gazing: Queer Readings in Fiction

Novel Gazing

Queer Readings in Fiction

Eve Kosofsky Sedgwick, ed.

Duke University Press, 1997

Novel Gazing is the first collection of queer criticism on the history of the novel. The contributors to this volume navigate new territory in literary theory with essays that implicitly challenge the "hermeneutic of suspicion" widespread in current critical theory. In a stunning introductory essay, Eve Kosofsky Sedgwick delineates the possibilities for a criticism that would be "reparative" rather than cynical or paranoid. The startlingly imaginative essays in the volume explore new critical practices that can weave the pleasures and disorientations of reading into the fabric of queer analyses.

Through discussions of a diverse array of British, French, and American novels—including major canonical novels, best-sellers, children’s fiction, and science fiction—these essays explore queer worlds of taste, texture, joy, and ennui, focusing on such subjects as flogging, wizardry, exorcism, dance, Zionist desire, and Internet sexuality. Interpreting the works of authors as diverse as Benjamin Constant, Toni Morrison, T. H. White, and William Gibson, along with canonical queer modernists such as James, Proust, Woolf, and Cather, contributors reveal the wealth of ways in which selves and communities succeed in extracting sustenance from the objects of a culture whose avowed desire has often been not to sustain them. The dramatic reframing that these essays perform will make the significance of Novel Gazing extend beyond the scope of queer studies to literary criticism in general.

Contributors. Stephen Barber, Renu Bora, Anne Chandler, James Creech, Tyler Curtain, Jonathan Goldberg, Joseph Litvak, Michael Lucey, Jeff Nunokawa, Cindy Patton, Jacob Press, Robert F. Reid-Pharr, Eve Kosofsky Sedgwick, Melissa Solomon, Kathryn Bond Stockton, John Vincent, Maurice Wallace, Barry Weller

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