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An innovative account of the novel's emergence across revolutionary England and beyond.

Presents alternative categories of fiction through which to examine how contemporary writers have envisaged Africa’s changing literary terrains

Stephanie Bosch Santana analyzes southern African writers’ experimentations with literary form in periodical print and digital media since the mid-twentieth century in order to offer an alternative account of contemporary African imaginations of mobility. Based on an understudied archive of texts in English and Chichewa/Nyanja from Malawi, South Africa, Zimbabwe, and Zambia, Forms of Mobility: Genre, Language, and Media in African Literary Cultures examines new, noncanonical categories of fiction, including migrant forms, township tales, weekend stories, and digital diaries. These generically, linguistically, and geographically mobile forms map changing ideas of interconnection and belonging. By reading them “in motion,” as they travel across space, time, genre, and language and between publications and platforms, Bosch Santana limns multiple centers of literary influence and relation across southern African and Black diasporas, revealing forms of literary mobility and space making that are occluded by current models of world literature.

A fruitful reading strategy that reveals expansive meaning in Proverbs

Interpreters often characterize Proverbs 10:1–22:16 as a dead-end of cold, disengaged dogma closed off from the realities of the world. In Genre and Openness in Proverbs 10:1–22:16, Suzanna R. Millar takes a different view, arguing that the didactic proverbs in these chapters are not dull and dry but are filled with poetic complexities open to many possible interpretations and uses. By incorporating paremiology, the technical study of the proverb genre, Millar sheds light on important debates such as character development, kingship, the connection between act and consequence, and the acquisition of wisdom.

Features

• A clarification of the genre of the sayings in light of modern genre theory
• A linguistic analysis of how openness is generated in biblical proverbs
• An examination of the didactic use of proverbs to train the hearer’s mind

Haunting Bollywood is a pioneering, interdisciplinary inquiry into the supernatural in Hindi cinema that draws from literary criticism, postcolonial studies, queer theory, history, and cultural studies. Hindi commercial cinema has been invested in the supernatural since its earliest days, but only a small segment of these films have been adequately explored in scholarly work; this book addresses this gap by focusing on some of Hindi cinema’s least explored genres.

From Gothic ghost films of the 1950s to snake films of the 1970s and 1980s to today’s globally influenced zombie and vampire films, Meheli Sen delves into what the supernatural is and the varied modalities through which it raises questions of film form, history, modernity, and gender in South Asian public cultures. Arguing that the supernatural is dispersed among multiple genres and constantly in conversation with global cinematic forms, she demonstrates that it is an especially malleable impulse that routinely pushes Hindi film into new formal and stylistic territories. Sen also argues that gender is a particularly accommodating stage on which the supernatural rehearses its most basic compulsions; thus, the interface between gender and genre provides an exceptionally productive lens into Hindi cinema’s negotiation of the modern and the global. Haunting Bollywood reveals that the supernatural’s unruly energies continually resist containment, even as they partake of and sometimes subvert Hindi cinema’s most enduring pleasures, from songs and stars to myth and melodrama.

Once relegated to the borders of literature—neither Mexican nor truly American—Chicana/o writers have always been in the vanguard of change, articulating the multicultural ethnicities, shifting identities, border realities, and even postmodern anxieties and hostilities that already characterize the twenty-first century. Indeed, it is Chicana/o writers' very in-between-ness that makes them authentic spokespersons for an America that is becoming increasingly Mexican/Latin American and for a Mexico that is ever more Americanized.

In this pioneering study, Héctor Calderón looks at seven Chicana and Chicano writers whose narratives constitute what he terms an American Mexican literature. Drawing on the concept of "Greater Mexican" culture first articulated by Américo Paredes, Calderón explores how the works of Paredes, Rudolfo Anaya, Tomás Rivera, Oscar Zeta Acosta, Cherríe Moraga, Rolando Hinojosa, and Sandra Cisneros derive from Mexican literary traditions and genres that reach all the way back to the colonial era. His readings cover a wide span of time (1892-2001), from the invention of the Spanish Southwest in the nineteenth century to the América Mexicana that is currently emerging on both sides of the border. In addition to his own readings of the works, Calderón also includes the writers' perspectives on their place in American/Mexican literature through excerpts from their personal papers and interviews, correspondence, and e-mail exchanges he conducted with most of them.

Much of the writing in film studies published today can be understood as genre criticism, broadly speaking. And even before film studies emerged as an academic discipline in the 1970s, cultural observers within and beyond the academy were writing about genre films and making fascinating attempts to understand their conventions and how they speak to, for, and about the culture that produces them. While this early writing on genre film was often unsystematic, impressionistic, journalistic, and judgmental, it nonetheless produced insights that remain relevant and valuable today.

Notions of Genre gathers the most important early writing on film genre and genre films published between 1945 and 1969. It includes articles by such notable critics as Susan Sontag, Dwight Macdonald, Siegfried Kracauer, James Agee, André Bazin, Robert Warshow, and Claude Chabrol, as well as essays by scholars in academic disciplines such as history, sociology, and theater. Their writings address major issues in genre studies, including definition, representation, ideology, audiences, and industry practices, across genres ranging from comedy and westerns to horror, science fiction, fantasy, gangster films, and thrillers. The only single-volume source for this early writing on genre films, Notions of Genre will be an invaluable resource for scholars and students of film genre, film history, film theory, cultural studies, and popular culture.

How science fiction films in the 1950s were marketed and helped create the broader genre itself.

For Hollywood, the golden age of science fiction was also an age of anxiety. Amid rising competition, fluid audience habits, and increasing government regulation, studios of the 1950s struggled to make and sell the kinds of films that once were surefire winners. These conditions, the leading media scholar J. P. Telotte argues, catalyzed the incredible rise of science fiction.

Though science fiction films had existed since the earliest days of cinema, the SF genre as a whole continued to resist easy definition through the 1950s. In grappling with this developing genre, the industry began to consider new marketing approaches that viewed films as fluid texts and audiences as ever-changing. Drawing on trade reports, film reviews, pressbooks, trailers, and other archival materials, Selling Science Fiction Cinema reconstructs studio efforts to market a promising new genre and, in the process, shows how salesmanship influenced what that genre would become. Telotte uses such films as The Thing from Another World, Forbidden Planet, and The Blob, as well as the influx of Japanese monster movies, to explore the shifting ways in which the industry reframed the SF genre to market to no-longer static audience expectations. Science fiction transformed the way Hollywood does business, just as Hollywood transformed the meaning of science fiction.

Examining the role of changes in print technologies and poetics in the early novel

Around the same time that Aristotle’s Poetics was reemerging from obscurity, Rabelais was composing his Pantagruel series, while a host of influential works in a chivalric, sentimental, or pastoral vein were being imported from Spain and Italy. From this emergent corpus, Rabelais’s is the only name to have unambiguously made it into our modern canon of literary history, where he appears to stand alone as an early pioneer of the novel. The Early Novel in French: Poetics of a Genre in the Making explores the literary, cultural, and eminently material soil in which these early forms of what we would come to know as the novel originally took root, showing how they were imaginatively responding to the practices and uncertainties of the literary texts of their own era as well as to works of classical antiquity. 

Within the flowering of experimental fictional forms in mid-sixteenth-century France, Virginia Krause identifies historical subplots shaping the development of this genre. As rhetorical culture continued to animate fictions through an active literary tradition, print culture was changing the very fabric of books. The early novel was thus at once rhetorically fashioned and technologically manufactured. Meanwhile, the legacy of medieval romance adventure persisted, making the early novel in French both a new laboratory for Aristotelian immersion and a vehicle for a mysterious and fugitive romanesque. Krause sheds fresh light on this new and rapidly evolving genre: its lifelike personas or “person-fictions”; its material forms, from pocket-sized volumes to vast literary serials; its immersive powers; and its underappreciated role in the production of the modern author. 

Few other television series have received as much academic, media, and fan celebration as The Wire, which has been called the best dramatic series ever created. The show depicts the conflict between Baltimore's police and criminals to raise a warning about race; drug war policing; deindustrialization; and the inadequacies of America’s civic, educational, and political institutions. The show's unflinching explorations of a city in crisis and its nuanced portrayals of those affected make it a show all about race and class in America.

The essays in this volume offer a range of astute critical responses to this television phenomenon. More consistently than any other crime show of its generation, The Wire challenges viewers' perceptions of the racialization of urban space and the media conventions that support this. The Wire reminds us of just how remarkably restricted the grammar of race is on American television and related media, and of the normative codings of race---as identity, as landscape---across urban narratives, from documentary to entertainment media.

Popular music in the US and UK during the late 1970s and early 1980s was wildly eclectic and experimental. “Post-punk,” as it was retroactively labeled, could include electro-pop melodies, distorted guitars, avant-garde industrial sounds, and reggae beats, and thus is not an easily definable musical category.