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This book examines popular representations of biracial women of black and white descent in the United States, focusing on novels, television, music, and film. Although the emphasis is on the 1990s, the historical arc of the study begins in the 1930s. Caroline A. Streeter explores the encounter between what she sees as two dominant narratives that frame the perception of mixed race in America. The first is based on the long-standing historical experience of white supremacy and black subjugation. The second is more recent and involves the post–Civil Rights expansion of interracial marriage and mixed-race identities. Streeter analyzes the collision of these two narratives, the cultural anxieties they have triggered, and the role of black/white women in the simultaneous creation and undoing of racial categories—a charged, ambiguous cycle in American culture.

Streeter's subjects include concert pianist Philippa Schuyler, Dorothy West's novel The Wedding (in print and on screen), Danzy Senna's novels Caucasia and Symptomatic, and celebrity performing artists Mariah Carey, Alicia Keys, and Halle Berry. She opens with a chapter that examines the layered media response to Essie Mae Washington-Williams, Senator Strom Thurmond's biracial daughter. Throughout the book, Streeter engages the work of feminist critics and others who have written on interracial sexuality and marriage, biracial identity, the multiracial movement, and mixed race in cultural studies.

Presenting an innovative new reading of Sophocles' plays, Tragic Rites analyzes the poetic and narrative function of ritual in the seven extant plays of Sophocles. Adriana Brook closely examines four of them—Ajax, Electra, Philoctetes, and Oedipus at Colonus—in the context of her wide-ranging consideration of the entire Sophoclean corpus. Exploring the playwright's dramatic technique, she shows how he used elements of ritual to guide the perceptions and expectations of his fifth-century audience about plot and character.

Employing both modern ritual theory and Aristotle's Poetics, Brook exposes the deep structural analogies between ritual and narrative, the parallels between mistakes in ritual and deviations from the expected in the plot, and the relationship between ritual content and dramatic closure.

Recently, a number of Anglo-American philosophers of very different sorts--pragmatists, metaphysicians, philosophers of language, philosophers of law, moral philosophers—have taken a reflective rather than merely recreational interest in literature. Does this literary turn mean that philosophy is coming to an end or merely down to earth? In this collection of essays, one of the most insightful of contemporary literary theorists investigates the intersection of literature and philosophy, analyzing the emerging preferences for practice over theory, particulars over universals, events over structures, inhabitants over spectators, an ethics of responsibility over a morality of rules, and a desire for intimacy with the world instead of simply a disengaged knowledge of it.

During Poland’s century-long partition and in the interwar period of Poland’s reemergence as a state, Polish writers on both sides of the ocean shared a preoccupation with national identity. Polish-American immigrant writers revealed their persistent, passionate engagement with these issues, as they used their work to define and consolidate an essentially transnational ethnic identity that was both tied to Poland and independent of it.

By introducing these varied and forgotten works into the scholarly discussion, Traitors and True Poles recasts the literary landscape to include the immigrant community’s own competing visions of itself. The conversation between Polonia’s creative voices illustrates how immigrants manipulated often difficult economic, social, and political realities to provide a place for and a sense of themselves. What emerges is a fuller picture of American literature, one vital to the creation of an ethnic consciousness.

This is the first extended look at Polish-language fiction written by turn-of-the-century immigrants, a forgotten body of American ethnic literature. Addressing a blind spot in our understanding of immigrant and ethnic identity and culture, Traitors and True Poles challenges perceptions of a silent and passive Polish immigration by giving back its literary voice.

Listen to what I am about to tell you: do not read this book alone. You really shouldn’t. In one of the most playful experiments ever put between two covers, every other section of Trance-Migrations prescribes that you read its incantatory tales out loud to a lover, friend, or confidant, in order to hypnotize in preparation for Lee Siegel’s exploration of an enchanting India. To read and hear this book is to experience a particular kind of relationship, and that’s precisely the point: hypnosis, the book will demonstrate, is an essential aspect of our most significant relationships, an inherent dimension of love, religion, medicine, politics, and literature, a fundamental dynamic between lover and beloved, deity and votary, physician and patient, ruler and subject, and, indeed, reader and listener.
           
Even if you can’t read this with a partner—and I stress that you certainly ought to—you will still be in rich company. There is Shambaraswami, an itinerant magician, hypnotist, and storyteller to whom villagers turn for spells that will bring them wealth or love; José-Custodio de Faria, a Goan priest hypnotizing young and beautiful women in nineteenth-century Parisian salons; James Esdaile, a Scottish physician for the East India Company in Calcutta, experimenting on abject Bengalis with mesmerism as a surgical anesthetic; and Lee Siegel, a writer traveling in India to learn all that he can about hypnosis, yoga, past life regressions, colonialism, orientalism, magic spells, and, above all, the power of story. And then there is you: descending through these histories—these tales within tales, trances within trances, dreams within dreams—toward a place where the distinctions between reverie and reality dissolve.
           
Here the world within the book and that in which the book is read come startlingly together. It’s one of the most creative works we have ever published, a dazzling combination of literary prowess, scholarly erudition, and psychological exploration—all tempered by warm humor and a sharp wit. It is informing, entertaining, and, above all, mesmerizing. 

A founder of U.S.-Mexico border studies, José David Saldívar is a leading figure in efforts to expand the scope of American studies. In Trans-Americanity, he advances that critical project by arguing for a transnational, antinational, and "outernational" paradigm for American studies. Saldívar urges Americanists to adopt a world-system scale of analysis. "Americanity as a Concept," an essay by the Peruvian sociologist Aníbal Quijano and Immanuel Wallerstein, the architect of world-systems analysis, serves as a theoretical touchstone for Trans-Americanity. In conversation not only with Quijano and Wallerstein, but also with the theorists Gloria Anzaldúa, John Beverley, Ranajit Guha, Walter D. Mignolo, and Gayatri Chakravorty Spivak, Saldívar explores questions of the subaltern and the coloniality of power, emphasizing their location within postcolonial studies. Analyzing the work of José Martí, Sandra Cisneros, Toni Morrison, Arundhati Roy, and many other writers, he addresses concerns such as the "unspeakable" in subalternized African American, U.S. Latino and Latina, Cuban, and South Asian literature; the rhetorical form of postcolonial narratives; and constructions of subalternized identities. In Trans-Americanity, Saldívar demonstrates and makes the case for Americanist critique based on a globalized study of the Américas.

What might be gained from reading Native literatures from global rather than exclusively local perspectives of Indigenous struggle? In Trans-Indigenous, Chadwick Allen proposes methodologies for a global Native literary studies based on focused comparisons of diverse texts, contexts, and traditions in order to foreground the richness of Indigenous self-representation and the complexity of Indigenous agency.

Through demonstrations of distinct forms of juxtaposition—across historical periods and geographical borders, across tribes and nations, across the Indigenous–settler binary, across genre and media—Allen reclaims aspects of the Indigenous archive from North America, Hawaii, Aotearoa New Zealand, and Australia that have been largely left out of the scholarly conversation. He engages systems of Indigenous aesthetics—such as the pictographic discourse of Plains Indian winter counts, the semiotics of Navajo weaving, and Maori carving traditions, as well as Indigenous technologies like large-scale North American earthworks and Polynesian ocean-voyaging waka—for the interpretation of contemporary Indigenous texts. The result is a provocative reorienting of the call for Native intellectual, artistic, and literary sovereignty that fully prioritizes the global Indigenous.

In this series of textual readings and cultural comparisons, M. Wynn Thomas explores Whitman’s amazing ability to appeal across distances and centuries.

The book’s contrasting sections reflect the two locations studied: the first shows Whitman in his time and place, while the second repositions him within the cultures of England and Wales from the late 19th to the late 20th century. In the opening chapter he is placed against the vivid, outrageous background of the New York of his time; the second finds evidence in his poetry of a critique of the new urban politics of the emerging city boss; the third radically redefines Whitman's relationship to his famous contemporary Longfellow. Other chapters deal with the Civil War poet, exploring the ways in which his poetic responses were in part shaped by his relationship to his soldier brother George, and his use of the meteorological discoveries of his day to fashion metaphors for imaging the different phases of the conflict.

The second section ponders the paradox that this Whitman, who was so much the product of his specific time and limited “local” culture, should come to be accepted as an international visionary. The United Kingdom is taken as offering striking instances of this phenomenon, and his transatlantic admirers are shown to have been engaged in an unconscious process of “translating” Whitman into the terms of their own culturally specific social, political, and sexual preoccupations. Some of the connections explored are those between Whitman and Edward Carpenter, the so-called English Whitman; between Whitman and perhaps his greatest English critic, D. H. Lawrence; and between Whitman and the Welsh poets Ernest Rhys, Amanwy (David Rees Griffiths), Niclas y Glais (T. E. Nicholas), Waldo Williams, Glyn Jones, Dylan Thomas, and R. S. Thomas.

This bold and original study, offering new points of entry into understanding Whitman as the product of his time and place as well as understanding the reception of Whitman in the U.K. as a process of cultural translation, should fascinate scholars of Whitman and students of comparative literature.

Transatlantic Correspondence: Modernity, Epistolarity, and Literature in Spain and Spanish America, 1898–1992 by José Luis Venegas explores how influential Spanish and Spanish American writers used letters in their literary works to formulate distinctive visions of modernity. Bringing into the discussion authors such as Rubén Darío, Miguel de Unamuno, Carmen Martín Gaite, and Gabriel García Márquez, Venegas reveals unsuspected connections between the authors’ literary use of epistolary writing and their opinions about the place of Hispanic culture and civilization within a global context. Transatlantic Correspondence contributes to broader debates on literary transnationalism and the contradictory nature of modernity.
 
Each chapter frames literary works by authors from both sides of the Atlantic within key historical events spanning the loss of Spain’s overseas possessions in 1898 to the commemoration of Columbus’s quincentennial in 1992. This broad range of historical reference is counterpointed by the nuanced examination of a single formal feature in a wide variety of canonical and non-canonical texts. Drawing on insights from postcolonial studies, the book addresses the link between historical transformations that traverse decades and continents and specific stylistic choices in order to foster an understanding of Hispanic literary and cultural studies that is not limited by categories such as “movement,” “generation,” and “national literature.”

That the Romantic movement was an international phenomenon is a commonplace, yet to date, historical study of the movement has tended to focus primarily on its national manifestations. This volume offers a new perspective. In thirteen chapters devoted to artists and writers of the late eighteenth and early nineteenth centuries, leading scholars of the period examine the international exchanges that were crucial for the rise of Romanticism in England and the United States.

In the book's introduction, Andrew Hemingway—building on the theoretical work of Michael Lowy and Robert Sayre—proposes that we need to remobilize the concept of Weltanschauung, or comprehensive worldview, in order to develop the kind of synthetic history of arts and ideas the phenomenon of Romanticism demands. The essays that follow focus on the London and New York art worlds and such key figures as Benjamin West, Thomas Bewick, John Vanderlyn, Washington Allston, John Martin, J. M. W. Turner, Thomas Cole, James Fenimore Cooper, George Catlin, Edgar Allan Poe, Harriet Beecher Stowe, and Herman Melville. Taken together, these essays plot the rise of a romantic anti-capitalist Weltanschauung as well as the dialectic between Romanticism's national and international manifestations.

In addition to the volume editors, contributors include Matthew Beaumont, David Bindman, Leo Costello, Nicholas Grindle, Wayne Franklin, Janet Koenig, William Pressly, Robert Sayre, William Truettner, Dell Upton, and William Vaughan.

The tragic mulatta was a stock figure in nineteenth-century American literature, an attractive mixed-race woman who became a casualty of the color line. The tragic muse was an equally familiar figure in Victorian British culture, an exotic and alluring Jewish actress whose profession placed her alongside the “fallen woman.”

In Transatlantic Spectacles of Race, Kimberly Manganelli argues that the tragic mulatta and tragic muse, who have heretofore been read separately, must be understood as two sides of the same phenomenon. In both cases, the eroticized and racialized female body is put on public display, as a highly enticing commodity in the nineteenth-century marketplace. Tracing these figures through American, British, and French literature and culture, Manganelli constructs a host of surprising literary genealogies, from Zelica to Daniel Deronda, from Uncle Tom’s Cabin to Lady Audley’s Secret. Bringing together an impressive array of cultural texts that includes novels, melodramas, travel narratives, diaries, and illustrations, Transatlantic Spectacles of Race reveals the value of transcending literary, national, and racial boundaries.

This issue explores how intellectual theories migrate from Germany to the United States, asking what makes one theory compatible with and successful in the new society while others have little impact. Avoiding the obvious successes (from Marx to the Frankfurt School) and failures (authors whose translated works have had no effect on intellectual life in the United States), contributors investigate complicated cases in which the US reception was not particularly intense. The examples of Hans Blumenberg, Friedrich Kittler, Reinhardt Koselleck, Siegfried Kracauer, Niklas Luhmann, Alexander Mitscherlich, and Gershom Scholem prompt questions about the importance of clear translations, the effects of the publishing business on dissemination, the transformations that theoretical work undergoes as it moves from its original contexts to new ones, and the role of disciplines and interdisciplinarity in shaping a theory's reception.

Contributors. Yaacob Dweck, Philipp Felsch, Paul Fleming, Dagmar Herzog, Stefan-Ludwig Hoffmann, Andreas Huyssen, Martin Jay, Anna Kinder, Joe Paul Kroll, Anson Rabinbach, William Rasch, Johannes von Moltke, Geoffrey Winthrop-Young, Robert Zwarg

In this volume, fifteen scholars from diverse backgrounds analyze American women writers’ transatlantic exchanges in the nineteenth century. They show how women writers (and often their publications) traveled to create or reinforce professional networks and identities, to escape strictures on women and African Americans, to promote reform, to improve their health, to understand the workings of other nations, and to pursue cultural and aesthetic education. Presenting new material about women writers’ literary friendships, travels, reception and readership, and influences, the volume offers new frameworks for thinking about transatlantic literary studies.

Johannes Voelz offers a critique of the New Americanists through a stimulating and original reexamination of the iconic figure of Ralph Waldo Emerson. Voelz argues against the prevailing tendency among Americanists to see Emerson as the product of an “all-pervasive scope of cultural power.” Instead he shows Emerson’s philosophy to be a deft response to the requirements of lecturing professionally at the newly built lyceums around the country. Voelz brings to light a fascinating organic relationship between Emerson’s dynamic style of thinking and the uplifting experience demanded by his public. This need for an audience-directed philosophy, the author argues, reveals the function of Emerson’s infamous inconsistencies on such issues as representation, identity, and nation. It also poses a major counter-argument to the New Americanists’ dim view of Emerson’s individualism and his vision of the private man in public. Challenging the fundamental premises of the New Americanists, this study is an important, even pathbreaking guide to the future of American studies.

Throughout the first half of the nineteenth century, America was captivated by a muddled notion of “etymology.” New England Transcendentalism was only one outcropping of a nationwide movement in which schoolmasters across small-town America taught students the roots of words in ways that dramatized religious issues and sparked wordplay.

Shaped by this ferment, our major romantic authors shared the sensibility that Friedrich Schlegel linked to punning and christened “romantic irony.” Notable punsters or etymologists all, they gleefully set up as sages, creating jocular masterpieces from their zest for oracular wordplay. Their search for a primal language lurking beneath all natural languages provided them with something like a secret language that encodes their meanings. To fathom their essentially comic masterpieces we must decipher it.

Interpreting Thoreau as an ironic moralist, satirist, and social critic rather than a nature-loving mystic, Transcendental Wordplay suggests that the major American Romantics shared a surprising conservatism. In this award-winning study, Professor West rescues the pun from critical contempt and allows readers to enjoy it as a serious form of American humor.

American Transcendentalism is often seen as a literary movement—a flowering of works written by New England intellectuals who retreated from society and lived in nature. In Transcendentalism and the Cultivation of the Soul, Barry M. Andrews focuses on a neglected aspect of this well-known group, showing how American Transcendentalists developed rich spiritual practices to nurture their souls and discover the divine. The practices are common and simple—among them, keeping journals, contemplation, walking, reading, simple living, and conversation. In approachable and accessible prose, Andrews demonstrates how Transcendentalism's main thinkers, Emerson, Thoreau, Fuller, and others, pursued rich and rewarding spiritual lives that inspired them to fight for abolition, women's rights, and education reform. In detailing these everyday acts, Andrews uncovers a wealth of spiritual practices that could be particularly valuable today, to spiritual seekers and religious liberals.

American literary historians have viewed Ralph Waldo Emerson’s resignation from the Unitarian ministry in 1832 in favor of a literary career as emblematic of a main current in American literature. That current is directed toward the possession of a self that is independent and fundamentally opposed to the “accoutrements of society and civilization” and expresses a Transcendentalist antipathy toward all institutionalized forms of religious observance.
In the ongoing revision of American literary history, this traditional reading of the supposed anti-institutionalism of the Transcendentalists has been duly detailed and continually supported. Richard A. Grusin challenges both traditional and revisionist interpretations with detailed contextual studies of the hermeneutics of Ralph Waldo Emerson, Henry David Thoreau, and Theodore Parker. Informed by the past two decades of critical theory, Grusin examines the influence of the higher criticism of the Bible—which focuses on authorship, date, place of origin, circumstances of composition, and the historical credibility of biblical writings—on these writers. The author argues that the Transcendentalist appeal to the authority of the “self” is not an appeal to a source of authority independent of institutions, but to an authority fundamentally innate.

In Transculturality and German Discourse in the Age of European Colonialism, Chunjie Zhang examines the South Pacific travel writings of George Forster and Adelbert von Chamisso, literary works by August von Kotzebue and Johann Joachim Campe, Herder’s philosophy of history, and Kant’s theory of geography from the perspective of non-European impact during the age of Europe’s colonial expansion. She explores what these texts show about German and European superiority, the critique of the slave trade, European moral debauchery, acknowledgments of non-European cultural achievements, and sympathy with colonized peoples. Moving beyond the question of empire versus enlightenment, Zhang’s book diligently detects global connections, offering much to scholars of literature, culture, and intellectual history.

Transfiguring America is the product of more than ten years of research and numerous published articles on Margaret Fuller, arguably America's first feminist theorist and one of the most important woman writers in the nineteenth century. Focusing on Fuller's development of a powerful language that paired cultural critique with mythmaking, Steele shows why her writing had such a vital impact on the woman's rights movement and modern conceptions of gender.

This groundbreaking study pays special attention to the ways in which Fuller's feminist consciousness and social theory emerged out of her mourning for herself and others, her dialogue with Emersonian Transcendentalism, and her eclectic reading in occult and mythical sources. Transfiguring America is the first book to provide detailed analyses of all of Fuller's major texts, including her mystical Dial essays, correspondence with Emerson, Summer on the Lakes, 1844 poetry, Woman in the Nineteenth Century, and New York Tribune essays written both in New York and Europe.

Starting from her own profound sense of loss as a marginalized woman, Fuller eventually recognized the ways in which the foundational myths of American society, buttressed by conservative religious ideologies, replicated dysfunctional images of manhood and womanhood. With Woman in the Nineteenth Century, after exploring the roots of oppression in her essays and poetry, Fuller advanced the cause of woman's rights by conceptualizing a more fluid and equitable model of gender founded upon the mythical reconfiguration of human potential. But as her horizons expanded, Fuller demanded not only political equality for women, but also emotional, intellectual, and spiritual freedom for all victims of social oppression.

By the end of her career, Steele shows, Fuller had blended personal experience and cultural critique into the imaginative reconstruction of American society. Beginning with a fervent belief in personal reform, she ended her career with the apocalyptic conviction that the dominant myths both of selfhood and national identity must be transfigured. Out of the ashes of personal turmoil and political revolution, she looked for the phoenix of a revitalized society founded upon the ideal of political justice.

This book proposes that in a number of French Renaissance texts, produced in varying contexts and genres, we observe a shift in thinking about memory and forgetting. Focusing on a corpus of texts by Marguerite de Navarre, Pierre de Ronsard, and Michel de Montaigne, it explores several parallel transformations of and challenges to traditional discourses on the human faculty of memory.

Throughout Classical Antiquity and the Middle Ages, a number of influential authors described memory as a powerful tool used to engage important human concerns such as spirituality, knowledge, politics, and ethics. This tradition had great esteem for memory and made great efforts to cultivate it in their pedagogical programs. In the early sixteenth century, this attitude toward memory started to be widely questioned. The invention of the printing press and the early stages of the scientific revolution changed the intellectual landscape in ways that would make memory less important in intellectual endeavors. Sixteenth-century writers began to question the reliability and stability of memory. They became wary of this mental faculty, which they portrayed as stubbornly independent, mysterious, unruly, and uncontrollable–an attitude that became the norm in modern Western thought as is illustrated by the works of Descartes, Locke, Freud, Proust, Foucault, and Nora, for example.

Writing in this new intellectual landscape, Marguerite de Navarre, Ronsard, and Montaigne describe memory not as a powerful tool of the intellect but rather as an uncontrollable mental faculty that mirrored the uncertainty of human life. Their characterization of memory emerges from an engagement with a number of traditional ideas about memory. Notwithstanding the great many differences in concerns of these writers and in the nature of their texts, they react against or transform their classical and medieval models in similar ways. They focus on memory’s unruly side, the ways that memory functions independently of the will. They associate memory with the fluctuations of the body (the organic soul) rather than the stability of the mind (the intellectual soul). In their descriptions of memory, these authors both reflect and contribute to a modern understanding of and attitude towards this mental faculty.

Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
 

2019 Choice Outstanding Academic Title

Moving from viruses, vaccines, and copycat murder to gay panics, xenophobia, and psychopaths, Transforming Contagion energetically fuses critical humanities and social science perspectives into a boundary-smashing interdisciplinary collection on contagion. The contributors provocatively suggest contagion to be as full of possibilities for revolution and resistance as it is for the descent into madness, malice, and extensive state control. The infectious practices rooted in politics, film, psychological exchanges, social movements, the classroom, and the circulation of a literary text or meme on social media compellingly reveal patterns that emerge in those attempts to re-route, quarantine, define, or even exacerbate various contagions.  
 

The Butterfly Lovers Story, sometimes called the Chinese Romeo and Juliet, has been enduringly popular in China and Korea. In Transforming Gender and Emotion, Sookja Cho demonstrates why the Butterfly Lovers Story is more than just a popular love story. By unveiling the complexity of themes and messages concealed beneath the tale’s modern classification as a tragic love story, this book reveals the tale as a rich academic subject for students of human emotions and relationships, comparative geography and culture, and narrative adaptation. By examining folk beliefs and ideas that abound in the narrative—including rebirth and a second life, the association of human souls and butterflies, and women’s spiritual power—this book presents the Butterfly Lovers Story as an example of local religious narrative. The book’s cross-cultural comparisons, best manifested in its discussion of a shamanic ritual narrative version from the Cheju Island of Korea, frame the story as a catalyst for inclusive,  expansive discussion of premodern Korean and Chinese literatures and cultures. This scrutiny of the historical and cultural background behind the formation and popularization of the Cheju Island version sheds light on important issues in the Butterfly Lovers Story that are not frequently discussed—either in past examinations of this particular narrative or in the overall literary studies of China and Korea. This new, open approach presents an innovative framework for understanding premodern literary and cultural space in East Asia.

The first systemic analysis of time travel as narrative device, Edward Royston’s Transgressing Time argues that as a fictional conceit, time travel can most fruitfully be understood from a narratological perspective that sidesteps questions of its plausibility. In service of this goal, Royston identifies the precise narrative device, “anachronic metalepsis,” that powers time travel. Existing at the confluence of narrative’s power to manipulate temporality and fiction’s power to transgress and displace across ontological boundaries, anachronic metalepsis demonstrates that the power of narrative itself is what enables time travel.

Royston bolsters this concept through readings of classics such as Back to the Future and Octavia E. Butler’s Kindred, contemporary works such as the video game Outer Wilds and Scott Alexander Howard’s The Other Valley, and lesser-known works such as the nineteenth-century Spanish novel El Anacronópete. These readings demonstrate how time travel functions across different mediums and genres and spotlights the ways authors and creators have used anachronic metalepsis to contend with themes of exile, freedom and consequences, the powers and pitfalls of nostalgia, the nature of history and our relationship to it, and the nature of time itself.

Since the turn of the millennium South Korea has continued to grapple with transgressions that shook the nation to its core. Following the serial killings of Korea’s raincoat killer, the events that led to the dissolution of the United Progressive Party, the criminal negligence of the owner and also the crew members of the sunken Sewol Ferry, as well as the political scandals of 2016, there has been much public debate about morality, transparency, and the law in South Korea. Yet, despite its prevalence in public discourse, transgression in Korea has not received proper scholarly attention.

Transgression in Korea challenges the popular conceptions of transgression as resistance to authority, the collapse of morality, and an attempt at self- empowerment. Examples of transgression from premodern, modern, and contemporary Korea are examined side by side to underscore the possibility of reading transgression in more ways than one. These examples are taken from a devotional screen from medieval Korea, trickster tales from the late Chosŏn period, reports about flesheating humans, newspaper articles about same- sex relationships from colonial Korea, and films about extramarital affairs, wayward youths, and a vengeful vigilante. Bringing together specialists from various disciplines such as history, art history, anthropology, premodern
literature, religion, and fi lm studies, the context- sensitive readings of transgression provided in this book suggest that transgression and authority can be seen as forming something other than an antagonistic relationship.

It is often claimed that we know ourselves and the world through narratives. In this book, Robert D. Newman portrays narrative engagement as a process grounded in psychoanalytic theory to explain how readers (or listeners or viewers) manage to engage with specific narratives and derive from them a personal experience.
Newman describes this psychodrama of narrative engagement as that of exile and return, an experience in which narrative becomes a type of homeland, beckoning and elusive, endlessly defining and disrupting the borders of a reader's identity. Within this paradigm, he considers a fascinating variety of narrative texts: from the Jim Jones episode in Guyana to Freud's repression of personal history in his story of Moses; from a surrealistic collage novel by Max Ernst to the horror films of Alfred Hitchcock; from the works of James Joyce, Ariel Dorfman, Milan Kundera, and D. M. Thomas to the tales of abjection in pornography.
Transgressions of Reading is itself an engaging work, as interesting for its provocative readings of particular works as for its theoretical insights. It will appeal to readers from all fields in which narrative plays a crucial role, in the study of film and art, modern and contemporary literature, popular culture, and feminist, psychoanalytic, and reader response theory.

Winner of the 2020 Shelley Fisher Fishkin Prize from the American Studies Association

Texts written by Southeast Asian migrants have often been read, taught, and studied under the label of multicultural literature. But what if the ideology of multiculturalism—with its emphasis on authenticity and identifiable cultural difference—is precisely what this literature resists?
 
Transitive Cultures offers a new perspective on transpacific Anglophone literature, revealing how these chameleonic writers enact a variety of hybrid, transnational identities and intimacies. Examining literature from Malaysia, Singapore, and the Philippines, as well as from Southeast Asian migrants in Canada, Hawaii, and the U.S. mainland, this book considers how these authors use English strategically, as a means for building interethnic alliances and critiquing ruling power structures in both Southeast Asia and North America. Uncovering a wealth of texts from queer migrants, those who resist ethnic stereotypes, and those who feel few ties to their ostensible homelands, Transitive Cultures challenges conventional expectations regarding diaspora and minority writers.

How authors rendered Dakhóta philosophy by literary means to encode ethical and political connectedness and sovereign life within a settler surveillance state

Translated Nation examines literary works and oral histories by Dakhóta intellectuals from the aftermath of the 1862 U.S.–Dakota War to the present day, highlighting creative Dakhóta responses to violences of the settler colonial state. Christopher Pexa argues that the assimilation era of federal U.S. law and policy was far from an idle one for the Dakhóta people, but rather involved remaking the Oyáte (the Očéti Šakówiŋ Oyáte or People of the Seven Council Fires) through the encrypting of Dakhóta political and relational norms in plain view of settler audiences.

From Nicholas Black Elk to Charles Alexander Eastman to Ella Cara Deloria, Pexa analyzes well-known writers from a tribally centered perspective that highlights their contributions to Dakhóta/Lakhóta philosophy and politics. He explores how these authors, as well as oral histories from the Spirit Lake Dakhóta Nation, invoke thióšpaye (extended family or kinship) ethics to critique U.S. legal translations of Dakhóta relations and politics into liberal molds of heteronormativity, individualism, property, and citizenship. He examines how Dakhóta intellectuals remained part of their social frameworks even while negotiating the possibilities and violence of settler colonial framings, ideologies, and social forms. 

Bringing together oral and written as well as past and present literatures, Translated Nation expands our sense of literary archives and political agency and demonstrates how Dakhóta peoplehood not only emerges over time but in everyday places, activities, and stories. It provides a distinctive view of the hidden vibrancy of a historical period that is often tied only to Indigenous survival.

In Translating Empire, Laura Lomas uncovers how late nineteenth-century Latino migrant writers developed a prescient critique of U.S. imperialism, one that prefigures many of the concerns about empire, race, and postcolonial subjectivity animating American studies today. During the 1880s and early 1890s, the Cuban journalist, poet, and revolutionary José Martí and other Latino migrants living in New York City translated North American literary and cultural texts into Spanish. Lomas reads the canonical literature and popular culture of the United States in the Gilded Age through the eyes of Martí and his fellow editors, activists, orators, and poets. In doing so, she reveals how, in the process of translating Anglo-American culture into a Latino-American idiom, the Latino migrant writers invented a modernist aesthetics to criticize U.S. expansionism and expose Anglo stereotypes of Latin Americans.

Lomas challenges longstanding conceptions about Martí through readings of neglected texts and reinterpretations of his major essays. Against the customary view that emphasizes his strong identification with Ralph Waldo Emerson and Walt Whitman, the author demonstrates that over several years, Martí actually distanced himself from Emerson’s ideas and conveyed alarm at Whitman’s expansionist politics. She questions the association of Martí with pan-Americanism, pointing out that in the 1880s, the Cuban journalist warned against foreign geopolitical influence imposed through ostensibly friendly meetings and the promotion of hemispheric peace and “free” trade. Lomas finds Martí undermining racialized and sexualized representations of America in his interpretations of Buffalo Bill and other rituals of westward expansion, in his self-published translation of Helen Hunt Jackson’s popular romance novel Ramona, and in his comments on writing that stereotyped Latino/a Americans as inherently unfit for self-government. With Translating Empire, Lomas recasts the contemporary practice of American studies in light of Martí’s late-nineteenth-century radical decolonizing project.

Winner of the Western Literature Association’s Thomas J. Lyon Award
 
Whether as tourist's paradise, countercultural destination, or site of native resistance, the American Southwest has functioned as an Anglo cultural fantasy for more than a century. In Translating Southwestern Landscapes, Audrey Goodman excavates this fantasy to show how the Southwest emerged as a symbolic space from 1880 through the early decades of the twentieth century.

Drawing on sources as diverse as regional magazines and modernist novels, Pueblo portraits and New York exhibits, Goodman has crafted a wide-ranging history that explores the invention, translation, and representation of the Southwest. Its principal players include amateur ethnographer Charles Lummis, who conflated the critical work of cultural translation; pulp novelist Zane Grey, whose bestselling novels defined the social meanings of the modern West; fashionable translator Mary Austin, whose "re-expressions" of Indian song are contrasted with recent examples of ethnopoetics; and modernist author Willa Cather, who demonstrated an immaterial feeling for landscape from the Nebraska Plains to Acoma Pueblo.

Goodman shows how these writers—as well as photographers such as Paul Strand, Ansel Adams, and Alex Harris—exhibit different phases of the struggle between an Anglo calling to document Native and Hispanic difference and America's larger drive toward imperial mastery. In critiquing photographic representations of the Southwest, she argues that commercial interests and eastern prejudices boiled down the experimental images of the late nineteenth century to a few visual myths: the persistence of wilderness, the innocence of early portraiture, and the purity of empty space.

An ambitious synthesis of criticism and anthropology, art history and geopolitical theory, Translating Southwestern Landscapes names the defining contradictions of America's most recently invented cultural space. It shows us that the Southwest of these early visitors is the only Southwest most of us have ever known.

In Translation Effects: Language, Time, and Community in Medieval England, Mary Kate Hurley reinterprets a well-recognized and central feature of medieval textual production: translation. Medieval texts often leave conspicuous evidence of the translation process. These translation effects are observable traces that show how medieval writers reimagined the nature of the political, cultural, and linguistic communities within which their texts were consumed. Examining translation effects closely, Hurley argues, provides a means of better understanding not only how medieval translations imagine community but also how they help create communities. Through fresh readings of texts such as the Old English Orosius, Ælfric’s Lives of the Saints, Ælfric’s Homilies, Chaucer, Trevet, Gower, and Beowulf, Translation Effects adds a new dimension to medieval literary history, connecting translation to community in a careful and rigorous way and tracing the lingering outcomes of translation effects through the whole of the medieval period.

The contributors to this volume see translation as an activity that takes place not in an ideal neutral site but in real social and political situations, with parties who have vested interests in the production and reception of texts across linguistic and cultural boundaries. Translation is not simply a process of faithful reproduction but invariably involves deliberate acts of selection, construction, and omission. It is inextricably linked to issues of cultural dominance, assertion, and resistance—in short, to power.

Although governments, churches, publishing firms, and other powerful institutions may influence the translation process, many translators have found ways to resist that influence and have used translation to introduce new ideas and modes of expression. Exploring the nexus of translation and power, the essays in this volume offer a wide variety of examples, across multiple languages and societies. They range from case studies of historical episodes in which translation has played a role in the assertion of political and military power, such as an 1840 treaty between the British and Maori that continues to be a source of conflict in present-day New Zealand, to analyses of the work of specific translators, such as Germaine de Staël and Gayatri Spivak. Along with examining how translation contributes to ideological negotiations and cultural struggles, the essays reveal the dimensions of power inherent in the translation process itself—in the relationship of translator to author, source text, and translated text.

In addition to the editors, contributors include Rosemary Arrojo, Michael Cronin, Sabine Fenton, Camino Gutiérrez Lanza, Christopher Larkosh, Alexandra Lianeri, Lin Kenan, Carol Maier, Paul Moon, Adriana S. Pagano, and Sherry Simon.

Poetry is often said to resist translation, its integration of form and meaning rendering even the best translations problematic. Elizabeth Marie Young disagrees, and with Translation as Muse, she uses the work of the celebrated Roman poet Catullus to mount a powerful argument that translation can be an engine of poetic invention.

Catullus has long been admired as a poet, but his efforts as a translator have been largely ignored. Young reveals how essential translation is to his work: many poems by Catullus that we tend to label as lyric originals were in fact shaped by Roman translation practices entirely different from our own. By rereading Catullus through the lens of translation, Young exposes new layers of ingenuity in Latin poetry even as she illuminates the idiosyncrasies of Roman translation practice, reconfigures our understanding of translation history, and questions basic assumptions about lyric poetry itself.

More than merely linguistic transposition, translation is a vector of power, resistance, rebellion, and even revolution. Exploring these facets of the ideology of translation, the contributors to this volume focus on the agency of translators and their activism. Spanning two centuries and reaching across the globe, the essays examine the varied activist strategies of key translators and translation movements.

From silence to radical manipulation of texts, translation strategies are instrumental in significant historical interventions and cultural change. Translation plays a pivotal role in ideological dialogue and struggle, including resistance to oppression and cultural straitjackets of all types, from sexual puritanism to military dictatorships. Situated in their own space, time, history, and political contexts, translators promote ideological agendas by creating new cultural narratives, pragmatically adjusting tactics so as to maximize the social and political impact.

The essays in this volume explore ways to read translations as records of cultural contestation and ideological struggle; as means of fighting censorship, physical coercion, cultural repression, and political dominance; and as texts that foster a wide variety of goals from cultural nationalism to armed confrontation. Translations are set in relief as central cultural documents rather than derivative, peripheral, or marginalized productions. They are seen as forms of ethical, political, and ideological activity rather than as mere communicative transactions or creative literary exercises.

The contributors demonstrate that engaged and activist translations are performative acts within broader political and ideological contexts. The essays detail the initiative, resourcefulness, and courage of individual translators, whose willingness to put themselves on the line for social change can sometimes move the world.

In addition to Maria Tymoczko, contributors include Pua'ala'okalani D. Aiu, Brian James Baer, Mona Baker, Paul F. Bandia, Georges L. Bastin, Nitsa Ben-Ari, Ángela Campo, Antonia Carcelen-Estrada, Álvaro Echeverri, Denise Merkle, John Milton, and Else R.P. Vieira.

Since the 1980s, poets in Canada and the U.S. have increasingly turned away from the use of English, bringing multiple languages into dialogue—and into conflict—in their work. This growing but under-studied body of writing differs from previous forms of multilingual poetry. While modernist poets offered multilingual displays of literary refinement, contemporary translingual poetries speak to and are informed by feminist, anti-racist, immigrant rights, and Indigenous sovereignty movements. Although some translingual poems have entered Chicanx, Latinx, Asian American, and Indigenous literary canons, translingual poetry has not yet been studied as a cohesive body of writing. 

The first book-length study on the subject, Translingual Poetics argues for an urgent rethinking of Canada and the U.S.’s multiculturalist myths. Dowling demonstrates that rising multilingualism in both countries is understood as new and as an effect of cultural shifts toward multiculturalism and globalization. This view conceals the continent’s original Indigenous multilingualism and the ongoing violence of its dismantling. It also naturalizes English as traditional, proper, and, ironically, native. 

Reading a range of poets whose work contests this “settler monolingualism”—Jordan Abel, Layli Long Soldier, Myung Mi Kim, Guillermo Gómez-Peña, M. NourbeSe Philip, Rachel Zolf, Cecilia Vicuña, and others—Dowling argues that translingual poetry documents the flexible forms of racialization innovated by North American settler colonialisms. Combining deft close readings of poetry with innovative analyses of media, film, and government documents, Dowling shows that translingual poetry’s avoidance of authentic, personal speech reveals the differential forms of personhood and non-personhood imposed upon the settler, the native, and the alien.