The years 1992 and 2000 marked the 500-year anniversary of the arrival of the Spanish and the Portuguese in America and prompted an explosion of rewritings and cinematic renditions of texts and figures from colonial Latin America. Cannibalizing the Colony analyzes a crucial way that Latin American historical films have grappled with the legacy of colonialism. It studies how and why filmmakers in Brazil and Mexico—the countries that have produced most films about the colonial period in Latin America—appropriate and transform colonial narratives of European and indigenous contact into commentaries on national identity. The book looks at how filmmakers attempt to reconfigure history and culture and incorporate it into present-day understandings of the nation. The book additionally considers the motivations and implications for these filmic dialogues with the past and how the directors attempt to control the way that spectators understand the complex and contentious roots of identity in Mexico and Brazil.
Naciones Intelectuales explores the processes and works that laid the foundations of a new literary modernity in the wake of the Mexican Revolution. It focuses on the period from the signing of the Constitution in 1917, to the death of Alfonso Reyes in 1959, and analyzes the four elements of Mexican cultural practices: the notion of literature, the figure of the intellectual, the creation of academic institutions, and the definition of national identity that emerged through the various debates held by leading figures of the period. The book analyzes different key moments, controversies, and cultural interventions, which ultimately led the diverse aesthetic spectrum created by the revolution into becoming a highly institutional system of literature. This book offers a cartography of Mexican literary institutions unprecedented in scope, which will allow readers, students, and scholars to understand the construction of modern Mexican literature in a clear, rigorous, and systematic way.
Why are twentieth-century novelists from former British colonies in the Americas preoccupied with British Romantic poetry? In Romantic Revisions, Lauren Rule Maxwell examines five novels—Kincaid's Lucy, Atwood's The Handmaid's Tale, McCarthy's Blood Meridian, Fitzgerald's The Great Gatsby, and Harris's Palace of the Peacock—that contain crucial scenes engaging British Romantic poetry. Each work adapts figures from British Romantic poetry and translates them into an American context. Kincaid relies on the repeated image of the daffodil, Atwood displaces Lucy, McCarthy upends the American arcadia, Fitzgerald heaps Keatsian images of excess, and Harris transforms the albatross. In her close readings, Maxwell suggests that the novels reframe Romantic poetry to allegorically confront empire, revealing how subjectivity is shaped by considerations of place and power. Returning to British Romantic poetry allows the novels to extend the Romantic poetics of landscape that traditionally considered the British subject’s relation to place. By recasting Romantic poetics in the Americas, these novels show how negotiations of identity and power are defined by the legacies of British imperialism, illustrating that these nations, their peoples, and their works of art are truly postcolonial. While many postcolonial scholars and critics have dismissed the idea that Romantic poetry can be used to critique colonialism, Maxwell suggests that, on the contrary, it has provided contemporary writers across the Americas with a means of charting the literary and cultural legacies of British imperialism in the New World. The poems of the British Romantics offer postcolonial writers particularly rich material, Maxwell argues, because they characterize British influence at the height of the British empire. In explaining how the novels adapt figures from British Romantic poetry, Romantic Revisions provides scholars and students working in postcolonial studies, Romanticism, and English-language literature with a new look at politics of location in the Americas.
Some of the most important writers of the twentieth century, including Borges, Cortázar, Rulfo, and García Márquez, have explored ambiguous sites of a disquieting nature. Their characters face merging perspectives, deferral, darkness, or emptiness. Such a space is neither a site of projection (as utopia or dystopia) nor a neutral setting (as the topos). For the characters, it is real and active, at once elusive and transforming. Despite the challenges of visualizing such slippery spaces, filmic experimentations in Spanish American cinema since the 1960s have sought to adapt these texts to the screen. Ilka Kressner’s Sites of Disquiet examines these representations of alternative dimensions in Spanish American short narratives and their transformations to the cinematic screen. The study is informed by contemporary critical approaches to spatiality, especially the concepts of atopos (non-space), spaces of mobility, sites of différance, of a self-effacing presence, and sonic spaces. Kressner’s comparative study of textual and cinematic constructions of non-spaces highlights the potential and limits of inter-arts adaptation. Film not only portrays the sites in ways that are intrinsic to the medium, but during the cinematic translation, it further develops the textual presentations of space. Text and film illuminate each other in their renderings of echoes, gaps, absences, and radical openness. The shared focus of the two media on precarious spaces highlights their awareness of the physical and situational conditions in the works. Therefore, it vindicates the import of space and dwelling, and the often underestimated impact of surroundings on the human body and mind. Despite their heterogeneity, the artistic elaborations of these ambivalent atopoi all share a liberating impulse: they assert creative and open-ended interactions with space where volatility ceases to be a negative term.
Stanley Fish opens the collection with a persuasive argument for the role of intention and biography. Michael McKeon, Gordon Turnbull, and Jerome Christensen are concerned with the late eighteenth--and early nineteenth-century English cultural discourse that gave rise to the nearly simultaneous emergence of literary biography, Romantic sensibility, and reflexive human consciousness. The essays by Alison Booth, Cheryl Walker, and Sharon O'Brien reveal that the recognition or lack thereof the biographical subject has received and remains both a problem and an opportunity for women writers and readers. The essays by Valerie Ross, Rob Wilson, Steven Weiland, and William Epstein pursue the question of difference and cultural reification in the theory and practice of a specifically American biography and biographical criticism.
The Current in Criticism is meant to provide the reader with a wide spectrum of current thinking, a sampling of some of the arguments, attitudes, and perspectives, which participate in the swirl of intense speculative energy that is so characteristic of contemporary theory. The editors describe this collection of 14 essays as "a tentative assessment of where we are and where we might be going in literary study, of what is current in criticism and of where the critical current might be tending."
When Roland Regan and Frederick Mauriello went off to fight the Germans in World War II, they packed cameras and notepaper. And they documented their experiences, Roland with photos, Frederick with letters to his family. Roland's photos, developed after the war, never went through Army censorship and show an honest firsthand view of the war from the eyes of an enlisted man. Frederick's letters show a young man's devotion to his family, his good-will, and his growing distrust of military authority. As a whole, this collection is a testimony to the courage, faith, and loyalty of all the men who served during World War II. These priceless documents, presented by their sons in this book, offer readers an intimate glimpse at a unique aspect of the American experience.
This anthology, hailed as a significant contribution to American ethnic studies, features the short stories, poems, and plays of more than thirty Italian American artists. Drawing on their individual and collective backgrounds and experience, these writers convey another vision of American fife. A section of critical essays by established scholars in the field, with topics ranging from specific works and authors to broad literary movements and film studies, analyzes the Italian American phenomenon and the role of ethnicity in literature. The extensive bibliography treats creative works, critical essays, and films dealing with the Italian American experience and promises to be an invaluable research tool.
Emilia Pardo Bazan’s place in Spanish and Galician literatures has been hard won, and she has yet to receive the recognition she deserves. In Género, nación y literatura: Emilia Pardo Bazán en la literatura gallega y española, Carmen Pereira-Muro studies the work and persona of this fascinating author in the context of Spanish and Galician competing nationalisms. She re-reads the literary histories and national canons of Spain and Galicia as patriarchal master narratives that struggle to assimilate or silence Pardo Bazán’s alternative national project. Pereira-Muro argues that Pardo Bazán posited the inclusion of women in the national culture as a key step in circumventing the representational logic behind Realism and Liberalism in the modern nation-state. By insisting that women should be equal partners, Pardo Bazán problematically adopted the patriarchal binarism that assigns women to Nature and men to Culture, but she also subverted it by denying its supplemental relationship. Her astute choice and manipulation of masculine cultural models (Realism, not Romanticism; prose, not poetry; Castilian language, not Galician) ultimately won her—despite fierce opposition—inclusion in the Spanish national canon. Furthermore, the study of her thorny relations with emerging Galician nationalism shows that her exclusion from “Galician literature” was due largely to her transgressive gender performance. Finally Pereira-Muro contends that in the author’s last novel, Pardo Bazán experimented with creating a feminine writing and a feminine canon for Spain. Nevertheless, the prevailing gender politics ensured that only her realist (masculine) production made it into the Spanish canon, and not this last, modernist (feminine) writing. In conclusion, this book questions the naturalization of national canons by uncovering the gender politics behind what is cast as naturally determined by language and geography. Doing this also exposes the parallel gender strictures at work behind seemingly opposed central (Spanish) and peripheral (Galician) national projects.
Drawing on the groundbreaking Spanish scholarship and editions of earlier generations and relying on research conducted in Spanish archives, this pioneering group of English-speaking scholars offers a new treatment of familiar material. The editors yoke together widely varying critical practices, including incisive New Critical readings and far-reaching explorations that draw on the most current European critical thought. In addition to these more strictly literary studies, there are interdisciplinary essays focusing on seventeenth- and twentieth-century reception and the social makeup of the comedia audience. The whole thus presents a balanced picture of the many ways in which the comedia can be viewed, and the contributors complement each other's work in often surprising ways, illuminating the same corpus from a number of perspectives.
These seven stories discover something of what lies beneath the ordinary surfaces of decent people," says George P. Elliott in his introduction to this volume. "Mr. Cassill's characters are for the most part,' he continues, "white respectable Middle-Western Protestants, and their way of life is lethal enough. But his heresy is to treat them as possible human beings who in fact do go on living as we live-dreadfully troubled but possible, human, living." Cassill "obviously incorporates in his best work all the uncommon qualities listed by Elliott, plus quite a few more: psychological precision, socio logical understanding and philosophical thrust not to mention a command of organic form i the short story and a remarkable range of flexible styles.
Illness in the Academy investigates the deep-seated, widespread belief among academics and medical professionals that lived experiences outside the workplace should not be sacrificed to the ideal of objectivity those academic and medical professions so highly value. The 47 selections in this collection illuminate how academics bring their intellectual and creative tools, skills, and perspectives to bear on experiences of illness. The selections cross genres as well as bridge disciplines and cultures.
From September 1862 until May 1865, Major William Watson served as surgeon with the 105th Regiment of Pennsylvania Volunteers, which fought at Fredericksburg, Chancellorsville, Gettysburg, the Wilderness, and elsewhere. Over the course of three years at war, he wrote 91 letters to his family, in which he describes his own war against death and disease. This well-educated and sensitive young man has left us a variety of impressions of camp life, marches, and battles; of a soldier's matter-of-fact willingness to accept-though not without grumbling-the rigors of his lot, of concern with the job at hand and with immediate needs like food and shelter; and of a veteran's indifference to the flag-waving of professional patriots. In spite of his often acute criticisms of the Union's military leadership, Watson never faltered in his belief in the Union cause and the ultimate outcome of the war nor in his dedication to Lincoln's major goals
George Ade, one of the most beloved writers of his day, carried on a lively correspondence with the most colorful of great and near-great. George M. Cohan, William Howard Taft, Theodore Roosevelt, John T. McCutcheon, James Whitcomb Riley, Finley Peter Dunne, Hamlin Garland all received letters from the Hoosier humorist. Ade’s keen observation, compact and straight-forward style, and understated humor mark his correspondence as well as his immensely popular newspaper columns, books, and plays. As Paul Fatout writes in his foreword: “The charm of George Ade lies in his good-natured contemplation of our species, which delineates, not with malice or with condescension, but with the gusty enjoyment of a spectator entertained by a continuous variety show.” Ade traveled the world over many times, but always returned to the home he never really left—Indiana. His companions and correspondents included presidents, senators, Hollywood moguls, and Broadway stars, but his first allegiance was to the farmlands and small towns of mid-America. From Hazelden Farm, near Brook, he kept in close touch with politicians from the precincts to the governor’s mansion. He wrote to educators, editors, and executives, and took an active part in the life and growth of his alma mater, Purdue University. Characteristically, the man who succeeded as a writer by setting down familiar situations sent some of his most interesting letters to ordinary citizens all over the state. Ade’s friendships were so diversified that his correspondence forms a patchwork of popular history, literature, politics, and entertainment. His interchange of ideas about people and events shaping the twentieth century as well as his own life will provide insights for students of varied aspects of American culture. This volume presents 182 of the most interesting and informative letters from the thousands of extant pieces of his correspondence in scores of collections scattered throughout the United States. The letters are arranged chronologically annotated with explanatory material and with sources. A foreword, introduction and Ade’s biography are included. Photographs, sketches, handwriting samples, and other illustrations which evoke the man and his times are interspersed with the text.
Where does the Twain meet? As observer and reporter. As teacher and preacher. With a twinkle in his eye. With whimsy in his heart. Twain indeed speaks volumes for himself through his newspaper stories, humorous columns, letters, speeches, and interviews, gathered together here for the first time in one paperback volume and providing a picture of the consummate writer, unabashed, critical, and cutting. A perfect title for every Twain collection
The book is a collection of fourteen essays by Abel on Hawthorne's fiction. The essays were published over a span of about thirty-five years in various scholarly journals. The author has revised some of these essays considerably and has added seven chapters to give the book continuity and unity.
The word rhetoric has been controversial at least since Plato both condemned and praised differing understandings of the subject in his Gorgias and Phaedrus. The six essays of this collection indicate that differing understandings as well as considerable interest in this subject continue to this day. Viewpoints range from Donald Bryant's traditional, Aristotelian conception of rhetoric as "the rationale of the informative and suasory in discourse," which may serve as a touchstone in this collection, to Henry Johnstone's understanding of rhetoric as the evocation of the consciousness required for communication, which grows out of his exploratory journey from philosophy to rhetoric and back. Five of the essays have frequent and explicit reference to rhetoric, while Wayne Booth's is an entertaining precis of his book A Rhetoric of Irony. When read serially, the essays of this collection may create for the reader new dimensions of meaning which are not as likely to be discovered if they read singly. The contributions by Booth, Kenneth Burke, and Maurice Natanson deal with indirect meaning and figurative language. Natanson's work is also suggestive on the problem of validation and may serve as a transition to the essays by Johnstone and Lloyd Bitzer, which, although different from one another in approach, are concerned primarily with the problem of validation and authorization. Bryant's essay shares with Bitzer's a concern with the relationship of politics and rhetoric, but it is perhaps more related to the discussions of Booth, Burke, and Natanson in its concern with literature. Together the six essays explore certain relationships between rhetoric, philosophy, and literature, illustrating that rhetoric is the special province of no one academic field and is best understood as an interdisciplinary study.
While he served in the Army Corps of Engineers during World War II, William Sabel dutifully wrote home to his parents in Chicago every week. More than half a century later, five years' worth of correspondence is featured in Seeds of Hope: An Engineer's World War II Letters. Sabel was 25 years old, single, and living on a poultry farm in Marshall County, Indiana, when he was drafted into military service in April 1941. As an officer in the Army Corps of Engineers he traveled overseas in January 1943 and served in the South Pacific for three years. When he returned home in February 1946, Sabel discovered that his mother had saved all of his letters, totaling about 300, in a box. In the early 1990s, when he became interested in computers, Sabel decided to compile all of his letters chronologically, a process that took about 14 months.
Rebecca Reed and Maria Monk may not be well-known authors today, but these women were publishing sensations in nineteenth-century America. Their lurid tales of life in two North American convents, one in Charlestown, Massachusetts, and the other in Montreal, Canada, sold more than one-half million copies. Reed escaped from the Ursuline convent in Charlestown in 1832. Her dramatic renditions of Roman Catholic ritual practice helped spark a night of violence that resulted in the convent being burned to the ground by an angry mob. Reed's published narrative, Six Months in a Convent, appeared just as the trials of the rioters were ending in 1835, and became an instant literary success. Monk's supporters capitalized on the lucrative market in anti-Catholic literature, by bringing out the pseudo-pornographic Awful Disclosures of the Hotel Dieu Nunnery in 1836. Monk, who claimed her infant daughter had been fathered by a Catholic priest, was in fact a Montreal prostitute rather than a nun. She enjoyed the life of a literary star in New York before her hoax was uncovered. These two narratives are now available for the first time in a single paperback edition. Nancy Lusignan Schultz's introduction provides a fascinating glimpse into the history, development, and marketing of these phenomenal best-sellers. The convent tales by Reed and Monk are classics that must be read by those interested in American studies, popular culture, social and religious history, literature, and women's studies.
Writing about the theater, the cabaret, fellow artists and feuds, politics and war, the eight artists assembled here represent the finest of the "small form," the sketches and essays fostered in the atmosphere of the Vienna coffeehouse to capture the fleeting impressions of a rapidly changing world. Above all, they are concerned with their world, Austria and particularly Vienna
Without Covers:// literary_magazines@the_digital_edge is a unique insider's look at how literary magazines have adapted to the arrival of the Internet age. Written by editors, writers, and poets, this authoritative collection covers a range of topics - from the overall financial challenges to the more mundane question of how to number the initial online volume of a 30-year old journal.Nineteen essays delve into the philosophical and practical issues surrounding the digital transformation of a variety of literary magazines. Essays include: "What is a Book?" "From Mimeograph to html: Literary Magazines Online," "the Editor in an Internet Age," "Epublishing and Literature: Challenge and Opportunity," "The Literary Magazine, the Web, and the Changing of the Avant-Garde," and much more.
Without Covers:// literary_magazines@the_digital_edge is a unique insider's look at how literary magazines have adapted to the arrival of the Internet age. Written by editors, writers, and poets, this authoritative collection covers a range of topics - from the overall financial challenges to the more mundane question of how to number the initial online volume of a 30-year old journal.