Many of the writers from 1819, argues James Chandler, were acutely aware not only of their writing's place in history, but also of its place as historyâa realization of a literary "spirit of the age" that resonates strongly with the current "return to history" in literary studies. Chandler explores the ties between Romantic and contemporary historicism and offers a series of cases of his own built around key texts from 1819. "1819? At first sight, it might not seem a 'hot date'; but as James Chandler argues in his powerful book, it would be a mistake to overlook a year of such exceptional political conflagration and literary pyrotechnics in British history. Chandler's study is a wide-ranging, enormously ambitious, densely packed, closely argued work."âJohn Brewer, New Republic "The book's largest argument, and the source of its considerable revelations, is that late twentieth-century practices of cultural history-writing have their roots in the peculiar Romantic historicism born in post-Waterloo Britain."âJon Klancher, Times Literary Supplement "A monumental work of scholarship."âTerry Eagleton, The Independent
That Sartre's study of Flaubert, The Family Idiot, is a towering achievement in intellectual history has never been disputed. Yet critics have argued about the precise nature of this novel, or biography, or "criticism-fiction" which is the summation of Sartre's philosophical, social, and literary thought. Sartre writes, simply, in the preface to the book: "The Family Idiot is the sequel to The Question of Method. The subject: what, at this point in time, can we know about a man? It seemed to me that this question could only be answered by studying a specific case." "A man is never an individual," Sartre writes, "it would be more fitting to call him a universal singular. Summed up and for this reason universalized by his epoch, he in turn resumes it by reproducing himself in it as singularity. Universal by the singular universality of human history, singular by the universalizing singularity of his projects, he requires simultaneous examination from both ends." This is the method by which Sartre examines Flaubert and the society in which he existed. Now this masterpiece is being made available in an inspired English translation that captures all the variations of Sartre's styleâfrom the jaunty to the ponderousâand all the nuances of even the most difficult ideas. Volume 1 consists of Part One of the original French work, La Constitution, and is primarily concerned with Flaubert's childhood and adolescence.
This studyâbridging contemporary theory, Chinese history, comparative literature, and culture studiesâanalyzes the historical interactions among China, Japan, and the West in terms of âtranslingual practice.â
This paper addresses a complicated process of cultural transmission, focusing on the peculiar way in which Russian Modernism took Oriental motifs as one of its identifying features, but presented Asia largely through the medium of Western European interpretations. The leader of the early-twentieth-century Russian Acmeist group of poets, Nikolai Gumilev, is a case in point, as his 1918 collection The Porcelain Pavilion contained versified adaptations of French translations from Chinese classical poetry. Gumilev’s immediate source was The Book of Jade, published in 1867 by Judith Gautier, an accomplished Sinologist and fiction writer close to Parnassian circles.
French art of the middle of the nineteenth century was marked by an intense creative exploration of the Far East, and the "chinoiserie" style also became pervasive in literature. This style survived to the turn of the twentieth century, when stylization of the East became part of the Art Nouveau aesthetic program. Art Nouveau came to Russia from the West, notably from France, a country with which Russian artists traditionally maintained close ties. It was only natural that they should turn to the medium of French culture in their assimilation of the Oriental themes promoted by Art Nouveau. Gumilev was no exception, as he traveled to France in 1917 to discover the beauty and aesthetic potential of Chinese verse through Gautier’s translations.
Judith Gautier, who was fluent in Chinese, carefully rendered a number of Tang Dynasty texts in rhythmic prose, aiming primarily to introduce Chinese verse, still a largely unexplored area at the time, to the French reading audience. Gumilev, who did not know Chinese, used Gautier’s The Book of Jade as a mere starting point for his collection, creating essentially an independent work of literature. Although the theme, plot, and mood of each piece are conserved, the structure of Gumilev’s book, the use of versification in lieu of rhythmic prose, and the emphasis on metapoetic content all betray the Russian poet’s original agenda.
This article systematically analyzes why classical Chinese poetry became a vehicle for the expression of Gautier’s and Gumilev’s aesthetic sensibilities, as well as how the ideals of art for art’s sake, the careful crafting of verse, and leisurely creativity, so prominent in Chinese texts, reflect the Russian poet’s apolitical stance with respect to the turmoil of revolutionary Russia. With respect to Gumilev’s dialectic as a poet, The Porcelain Pavilion appears well integrated into the restrained, philosophical, and introspective verse of his later period, including his stylizations of medieval Persian masters. Ultimately, the comparative study of translations by Gautier and Gumilev illustrates yet another form of Modernist cultural exchange between Russia and the West.
Africa Wo/Man Palava offers the first close look at eight Nigerian women writers and proposes a new vernacular theory based on their work. Flora Nwapa, Adaora Lily Ulasi, Buchi Emecheta, Funmilayo Fakunle, Ifeoma Okoye, Zaynab Alkali, Eno Obong, and Simi Bedford are the writers Chikwenye Okonjo Ogunyemi considers. African womanism, an emerging model of female discourse, is at the heart of their writing. In their work, female resistance shifts from the idea of palava, or trouble, to a focus on consensus, compromise, and cooperation; it tackles sexism, totalitarianism, and ethnic prejudice. Such inclusiveness, Ogunyemi shows, stems from an emphasis on motherhood, acknowledging that everyone is a mother's child, capable of creating palava and generating a compromise. Ogunyemi uses the novels to trace a Nigerian women's literary tradition that reflects an ideology centered on children and community. Of prime importance is the paradoxical Mammywata figure, the independent, childless mother, who serves as a basis for the new woman in these novels. Ogunyemi tracks this figure through many permutations, from matriarch to exile to woman writer, her multiple personalities reflecting competing loyaltiesâto self and other, children and nation. Such fragmented personalities characterize the postcolonial condition in their writing. Mapping geographies of pain and endurance, the work opens a space for addressing the palava between different groups of people. Valuable as the first sustained critical study of a substantial but little known body of literature, this book also counters the shortcomings of prevailing "masculinist" theories of black literature in a powerful narrative of the Nigerian world.
The article focuses on the influence of the novel "The Metamorphosis" by Franz Kafka on the writing of the author Vladimir Nabokov. It discusses examples of where the influence can be observed, including Nabokov's novel "Look at the Harlequins!". Nabokov's views on realist fiction are explored and his work as a teacher of Kafka's literature is discussed. English and American Literature and Language
Behler discusses the current state of thought on modernity and postmodernity, detailing the intellectual problems to be faced and examining the positions of such central figures in the debate as Lyotard, Habermas, Rorty, and Derrida. He finds that beyond the "limits of communication," further discussion must be carried out through irony. The historical rise of the concept of modernity is examined through discussions of the querelle des anciens et des modernes as a break with classical tradition, and on the theoretical writings of de Stael, the English romantics, and the great German romantics Schlegel, Hegel, and Nietzsche. The growth of the concept of irony from a formal rhetorical term to a mode of indirectness that comes to characterize thought and discourse generally is then examined from Plato and Socrates to Nietzsche, who avoided the term "irony" but used it in his cetnral concept of the mask.
Winner of the 2002 MLA's 2002 Prize for a First Book, sponsored by the Modern Language Association. Winner of the 2001 Philip Brett Award, sponsored by the American Musicological Society. Ranging chronologically from the twelfth to the fifteenth centuries and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, the author argues that medieval music was quintessentially a practice of the flesh. It will be of compelling interest to historians of literature, music, religion, and sexuality, as well as scholars of cultural, gender, and queer studies. ---------- Bruce W. Holsinger is Assistant Professor of English at the University of Colorado. ---------- Ranging chronologically from the twelfth to the fifteenth centuries and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to ChaucerÃ¢â¬â¢s representation of pedagogical violence in the PrioressÃ¢â¬â¢s Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of Bingen, the author argues that medieval music was quintessentially a practice of the flesh. The book reveals a sonorous landscape of flesh and bone, pleasure and pain, a medieval world in which erotic desire, sexual practice, torture, flagellation, and even death itself resonated with musical significance and meaning. In its insistence on music as an integral part of the material cultures of the Middle Ages, the book presents a revisionist account of an important aspect of premodern European civilization that will be of compelling interest to historians of literature, music, religion, and sexuality, as well as scholars of cultural, gender, and queer studies. ---------- Ã¢â¬ÅWhat a wonderful book! It will change the whole way we look at, read, and listen to the Middle Ages. HolsingerÃ¢â¬â¢s grasp of the history of Latin and vernacular literature, philosophy, art, and history as it pertains to his topic, is breathtaking. What holds the whole argument together is [the authorÃ¢â¬â¢s superb grasp of] music.Ã¢â¬?Ã¢â¬âMichael Camille, University of Chicago Ã¢â¬ÅThe book is interesting, intriguing, and provides a valuable model for new ways of approaching musical repertory.Ã¢â¬?Ã¢â¬âNotes Ã¢â¬ÅProvides a very close reading of a wide range of texts from late Antiquity to the early modern period that deal with the corporeal production and reception of music . . . .Some of these texts are well known to musicologists or students of literature, but few scholars of any stripe would know all of them or even the majority intimately. Scholars of literature and music, and of culture in general, will therefore find much of interest here as well as an important synthesis of many of the most colorful passages on music from the writings of this period.Ã¢â¬?Ã¢â¬âEcho: A Music-Centered Journal Ã¢â¬ÅBruce W. HolsingerÃ¢â¬â¢s Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer is an ambitious and original book. It is also something rarer, a genuine pleasure to read; because of the confident way the book moves between literary criticism, iconography and musicology, it will provide most medievalists with glimpses of something outside their particular field; an obscure or under-read text, an unfamiliar element of musical practice, an unknown aspect of pedagogy in the Middle Ages, a new vision of the medieval body.Ã¢â¬?Ã¢â¬âMaud Burnett McIrney, Haverford College
Why can a "white" woman give birth to a "black" baby, while a "black" woman can never give birth to a "white" baby in the United States? What makes racial "passing" so different from social mobility? Why are interracial and incestuous relations often confused or conflated in literature, making "miscegenation" appear as if it were incest? When did the myth that one can tell a person's race by the moon on their fingernails originate? How did blackness get associated with "the curse of Ham," when the Biblical text makes no reference to skin color at all? This book, an exploration of "interracial literature," examines these questions and others. In the past, interracial texts have been read more for a black-white contrast of "either-or" than for an interracial realm of "neither, nor, both, and in-between." Intermarriage prohibitions have been legislated throughout the modern period and were still in the law books in the 1980s. Stories of black-white sexual and family relations have thus run against powerful social taboos. Yet much interracial literature has been written, and this book suggests its pervasiveness and offers new comparative and historical contexts for understanding it. It ranges across time, space, and cultures, analysing scientific and legal works as well as poetry, fiction, and the visual arts, to explore the many themes and motifs interwoven throughout interracial literature. From the etymological origins of the term "race" to the cultural sources of the "Tragic Mulatto," the book examines recurrent images and ideas.
Desire and Truth offers a major reassessment of the history of eighteenth-century fiction by showing how plot challenges or reinforces conventional categories of passion and rationality. Arguing that fiction creates and conveys its essential truths through plot, Patricia Meyer Spacks demonstrates that eighteenth-century fiction is both profoundly realistic and consistently daring.
The electronic version of this book has been prepared by scanning TIFF 600 dpi bitonal images of the pages of the text. Original source: Pseudonyms of Christ in the modern novel: motifs and methods.; Moseley, Edwin M., 1917-; 231 p. 23 cm.; [Pittsburgh]; This electronic text file was created by Optical Character Recognition (OCR). No corrections have been made to the OCR-ed text and no editing has been done to the content of the original document. Encoding has been done through an automated process using the recommendations for Level 2 of the TEI in Libraries Guidelines. Digital page images are linked to the text file.
Is Huck Finn the greatest American novel, or a dangerous book? Arac calls for fairer, fuller, better-informed debates by scholars and citizens -------------------------------------------------------------------------------- If racially offensive epithets are banned on CNN air time and in the pages of USA Today, Jonathan Arac asks, shouldn't a fair hearing be given to those who protest their use in an eighth-grade classroom? Placing Mark Twain's comic masterpiece, Huckleberry Finn, in the context of long-standing American debates about race and culture, Jonathan Arac has written a work of scholarship in the service of citizenship. Huckleberry Finn, Arac points out, is America's most beloved book, assigned in schools more than any other work because it is considered both the "quintessential American novel" and "an important weapon against racism." But when some parents, students, and teachers have condemned the book's repeated use of the word "nigger," their protests have been vehemently and often snidely countered by cultural authorities, whether in the universities or in the New York Times and the Washington Post. The paradoxical result, Arac contends, is to reinforce racist structures in our society and to make a sacred text of an important book that deserves thoughtful reading and criticism. Arac does not want to ban Huckleberry Finn, but to provide a context for fairer, fuller, and better-informed debates. Arac shows how, as the Cold War began and the Civil Rights movement took hold, the American critics Lionel Trilling, Henry Nash Smith, and Leo Marx transformed the public image of Twain's novel from a popular "boy's book" to a central document of American culture. Huck's feelings of brotherhood with the slave Jim, it was implied, represented all that was right and good in American culture and democracy. Drawing on writings by novelists, literary scholars, journalists, and historians, Arac revisits the era of the novel's setting in the 1840s, the period in the 1880s when Twain wrote and published the book, and the postÃ¢â¬âWorld War II era, to refute many deeply entrenched assumptions about Huckleberry Finn and its place in cultural history, both nationally and globally. Encompassing discussion of Harriet Beecher Stowe, Frederick Douglass, Ralph Ellison, Archie Bunker, James Baldwin, Shelley Fisher Fishkin, and Mark Fuhrman, Arac's book is trenchant, lucid, and timely. Jonathan Arac is professor of English at the University of Pittsburgh. He is the author and editor of numerous books, including After Foucault, Postmodernism and Politics, and Critical Genealogies.
Levine shows how Darwin's ideas affected nineteenth-century novelistsâfrom Dickens and Trollope to Conrad. "Levine stands in our day as the premier critic and commentator on Victorian prose."âFrank M. Turner, Nineteenth-Century Literature. "Magnificently written, with a care and delicacy worthy of its subject."âNina Auerbach, University of Pennsylvania
Exploring how the concept of the imagination is figured in some principal texts of English Romanticism, this book convincingly argues that this figuring is a deeply ideological activity which reveals important social and political investments. By attending to the textual figures of the imagination, the book sheds critical light not only on Romanticism but on the very workings of ideology.
This book is not only a major twentieth-century contribution to Dostoevsky's studies, but also one of the most important theories of the novel produced in our century. As a modern reinterpretation of poetics, it bears comparison with Aristotle. "Concentrating on the particular features of 'Dostoevskian discourse,' how Dostoevsky structures a hero and a plot, and what it means to write dialogically, Bakhtin concludes with a major theoretical statement on dialogue as a category of language. One of the most important theories of the novel in this century." Ã¢â¬âThe Bloomsbury Review
El profesor chileno Arturo Torres-Rioseco escribió por lo menos dos series de ensayos sobre literatura latinoamericana; en ellos, abordó muy diversos aspectos de la producción literaria del continente americano de habla hispana, desde el teatro prehispánico hasta los autores contemporáneos. Su primer libro arranca con el estudio del teatro prehispánico en México, para luego revisar la novela, la poesía, la crítica y el humorismo en la literatura americana de la colonia y del siglo XIX, para culminar con el siglo XX. Los textos del segundo libro se encuentran, en términos generales, circunscritos a la producción literaria hispanoamericana contemporánea, y abordan temas como la libertad de expresión en las Américas, las relaciones internacionales entre Estados Unidos y Latinoamérica o bien, hace una breve reseña de los géneros literarios en el continente.
Although the Renaissance epic was the principal literary means of representing war in its time, modern readers of the epic often lack a basic understanding of the history of warfare. Michael Murrin here offers the first analysis to bring an understanding of both the history of literature and the history of warfare to the study of the epic. Analyzing English, Italian, and Iberian epics published between 1483 and 1610, Murrin focuses on particular aspects of warfare (cavalry clashes, old and new style sieges, the tactical use of the gun, naval warfare) and the responses to them by authors from Malory to Milton. Throughout, Murrin traces a parallel development in the art of war and in the epic as it emerged from the romance. Murrin demonstrates that with new technology and increasing levels of carnage, the practice of war gradually drifted from traditional epic modes. But before changes in warfare completely doomed the tradition in which the epic was rooted, this crisis provoked an unprecedented range of experiment which marks heroic narrative in the late Renaissance and ultimately led to the epic without war. A much-needed introduction to the neglected subject of warfare in epic literature, this work is an uncommonly wide-ranging exercise in comparative criticism that will appeal to historians and students of literature alike.