D. Harlan Wilson offers the first career-spanning analysis of an author who helped steer SF in new, if startling, directions. Here was a writer committed to moral ambiguity, one who drowned the world and erected a London high-rise doomed to descend into savagery--and coolly picked apart the characters trapped within each story. Wilson also examines Ballard's methods, his influence on cyberpunk, and the ways his fiction operates within the sphere of our larger culture and within SF itself.
In the only critical examination of all of Jack Kerouac's published prose, James T. Jones turns to Freud to show how the great Beat writer used the Oedipus myth to shape not only his individual works but also the entire body of his writing.
Like Balzac, Jones explains, Kerouac conceived an overall plan for his total writing corpus, which he called the Duluoz Legend after Jack Duluoz, his fictional alter ego. While Kerouac's work attracts biographical treatment—the ninth full-length biography was published in 1998—Jones takes a Freudian approach to focus on the form of the work. Noting that even casual readers recognize family relationships as the basis for Kerouac's autobiographical prose, Jones discusses these relationships in terms of Freud's notion of the Oedipus complex.
After establishing the basic biographical facts and explaining Freud's application of the Oedipus myth, Jones explicates Kerouac's novels of childhood and adolescence, focusing on sibling rivalry. Supporting his contention that the Beat writer worked according to a plan, Jones then shows how Kerouac revised The Town and the City (1950), his first published novel, in Vanity of Duluoz, the last novel published in his lifetime, to de-emphasize the death of the father. He treats three versions of Kerouac's road novel—including On the Road—as versions of Oedipus's fateful journey from Corinth to Thebes. And he argues that Pic, often considered peripheral to the Duluoz Legend, replicates the Oedipal themes.
Jones demonstrates that Maggie Cassidy, The Subterraneans, and Tristessa share a form that results from Kerouac's unresolved rivalry with his father for the love of his mother. He discusses Kerouac's replacement of the destructive brother figures in On the Road and Visions of Cody with the constructive hero of The Dharma Bums. He also shows how the Oedipal structure of the Duluoz Legend applies to Kerouac's nonfiction.
In the penultimate chapter, Jones explains how Big Sur, Kerouac's story of his alcohol-induced nervous breakdown, actually marks the climax of the Duluoz Legend. The alcoholism, Jones insists, is not the cause but a symptom of a breakdown brought on by his attachment to his mother. He shows how Kerouac's obsession with his family repeats Oedipal themes throughout the Duluoz Legend. Finally, he deals with Oedipal themes in Kerouac's nonnarrative work, including Old Angel Midnight, Some of the Dharma, The Scripture of the Golden Eternity, and several poems.
It’s difficult to overestimate the impact of the many new works by James Agee uncovered and published in the last twenty years. These previously unknown primary works have, in turn, encouraged a parallel explosion of critical evaluation and reevaluation by scholars, to which James Agee in Context is the latest contribution.
This superb collection from well-known James Agee scholars features myriad approaches and contexts for understanding the author’s fiction, poetry, journalism, and screenwriting. The essays bring the reader from the streets of James Agee’s New York to travel with the author from Alabama to Hollywood to Havana. Contributors explore overlapping and sometimes unique subjects, themes, and accomplishments (or lack thereof) in Agee’s uncovered works and highlight the diversity of interest that Agee’s complete body of work inspires. The insightful scholarship on influence examines connections between Agee and Wright Morris, Helen Levitt, John Dos Passos, Ernest Hemingway, and Stephen Crane. Such juxtapositions serve to illustrate how Agee drew on literary influences as a young man, how he used his work as a journalist to craft fiction as he was about to turn thirty, and his influence upon others. The volume concludes with three poems and a short story by Agee, all previously unknown.
It seems astonishing that so much remains to be discovered about this protean author, his materials, and his circle. Yet, the recovery and analysis of neglected texts and information mined from newspapers and magazines proves the extent to which Agee kept his mind and his work, as he himself put it, “patiently concentrated upon the essential quietudes of the human soul.”
Joseph Vogel offers the first in-depth look at Baldwin's dynamic final decade of work. Delving into the writer's creative endeavors, crucial essays and articles, and the impassioned polemic The Evidence of Things Not Seen, Vogel finds Baldwin as prescient and fearless as ever. Baldwin's sustained grappling with "the great transforming energy" of mass culture revealed his gifts for media and cultural criticism. It also brought him into the fray on issues ranging from the Reagan-era culture wars to the New South, from the deterioration of inner cities to the disproportionate incarceration of black youth, and from pop culture gender-bending to the evolving women's and gay rights movements.
Astute and compelling, James Baldwin and the 1980s revives and redeems the final act of a great American writer.
When the wounded bear he faced on a mountain ledge that day turned aside, James Curwood felt that he had been spared. From this encounter he became an avid conservationist. He wrote relentlessly—magazine stories and books and then for the new medium of motion pictures. Like many authors of his time, he was actively involved in movie-making until the plight of the forests and wildlife in his home state of Michigan turned his energies toward conservation.
A man ahead of his time, and quickly forgotten after his death in 1927, his gift of himself to his readers and to nature has finally come to be appreciated again two generations later.
Devoted fans and scholars of Jane Austen—as well as skeptics—will rejoice at Tony Tanner’s superb book on the incomparable novelist. Distilling twenty years of thinking and writing about Austen, Tanner treats in fresh and illuminating ways the questions that have always occupied her most perceptive critics. How can we reconcile the limited social world of her novels with the largeness of her vision? How does she deal with depicting a once-stable society that was changing alarmingly during her lifetime? How does she express and control the sexuality and violence beneath the well-mannered surface of her milieu? How does she resolve the problems of communication among characters pinioned by social reticences?
Tanner guides us through Austen’s novels from relatively sunny early works to the darker, more pessimistic Persuasion and fragmentary Sanditon—a journey that takes her from acceptance of a society maintained by landed property, family, money, and strict propriety through an insistence on the need for authentication of these values to a final skepticism and even rejection. In showing her progress from a parochial optimism to an ability to encompass her whole society, Tanner renews our sense of Jane Austen as one of the great novelists, confirming both her local and abiding relevance.
For generations, children’s books provided American readers with their first impressions of Japan. Seemingly authoritative, and full of fascinating details about daily life in a distant land, these publications often presented a mixture of facts, stereotypes, and complete fabrications.
This volume takes readers on a journey through nearly 200 years of American children’s books depicting Japanese culture, starting with the illustrated journal of a boy who accompanied Commodore Matthew Perry on his historic voyage in the 1850s. Along the way, it traces the important role that representations of Japan played in the evolution of children’s literature, including the early works of Edward Stratemeyer, who went on to create such iconic characters as Nancy Drew. It also considers how American children’s books about Japan have gradually become more realistic with more Japanese-American authors entering the field, and with texts grappling with such serious subjects as internment camps and the bombing of Hiroshima and Nagasaki.
Drawing from the Library of Congress’s massive collection, Sybille A. Jagusch presents long passages from many different types of Japanese-themed children’s books and periodicals—including travelogues, histories, rare picture books, folktale collections, and boys’ adventure stories—to give readers a fascinating look at these striking texts.
Published by Rutgers University Press, in association with the Library of Congress.
For its scattered listeners, Noise always seems to be new and to come from somewhere else: in North America, it was called "Japanoise." But does Noise really belong to Japan? Is it even music at all? And why has Noise become such a compelling metaphor for the complexities of globalization and participatory media at the turn of the millennium?
In Japanoise, David Novak draws on more than a decade of research in Japan and the United States to trace the "cultural feedback" that generates and sustains Noise. He provides a rich ethnographic account of live performances, the circulation of recordings, and the lives and creative practices of musicians and listeners. He explores the technologies of Noise and the productive distortions of its networks. Capturing the textures of feedback—its sonic and cultural layers and vibrations—Novak describes musical circulation through sound and listening, recording and performance, international exchange, and the social interpretations of media.
Contributors. John Corbett, Steven B. Elworth, Krin Gabbard, Bernard Gendron, William Howland Kenney, Eric Lott, Nathaniel Mackey, Burton Peretti, Ronald M. Radano, Jed Rasula, Lorenzo Thomas, Robert Walser
Film noir showcased hard-boiled men and dangerous femmes fatales, rain-slicked city streets, pools of inky darkness cut by shards of light, and, occasionally, jazz. Jazz served as a shorthand for the seduction and risks of the mean streets in early film noir. As working jazz musicians began to compose the scores for and appear in noir films of the 1950s, black musicians found a unique way of asserting their right to participate fully in American life.
Jazz and Cocktails explores the use of jazz in film noir, from its early function as a signifier of danger, sexuality, and otherness to the complex role it plays in film scores in which jazz invites the spectator into the narrative while simultaneously transcending the film and reminding viewers of the world outside the movie theater. Jans B. Wager looks at the work of jazz composers such as Miles Davis, Duke Ellington and Billy Strayhorn, Chico Hamilton, and John Lewis as she analyzes films including Sweet Smell of Success, Elevator to the Gallows, Anatomy of a Murder, Odds Against Tomorrow, and considers the neonoir American Hustle. Wager demonstrates how the evolving role of jazz in film noir reflected cultural changes instigated by black social activism during and after World War II and altered Hollywood representations of race and music.
Jeremy F. Lane’s Jazz and Machine-Age Imperialism is a bold challenge to the existing homogenous picture of the reception of American jazz in world-war era France. Lane’s book closely examines the reception of jazz among French-speaking intellectuals between 1918 and 1945 and is the first study to consider the relationships, sometimes symbiotic, sometimes antagonistic, between early white French jazz critics and those French-speaking intellectuals of color whose first encounters with the music in those years played a catalytic role in their emerging black or Creole consciousness. Jazz’s first arrival in France in 1918 coincided with a series of profound shocks to received notions of French national identity and cultural and moral superiority. These shocks, characteristic of the era of machine-age imperialism, had been provoked by the first total mechanized war, the accelerated introduction of Taylorist and Fordist production techniques into European factories, and the more frequent encounters with primitive “Others” in the imperial metropolis engendered by interwar imperialism. Through close readings of the work of early white French jazz critics, alongside the essays and poems of intellectuals of color such as the Nardal sisters, Léon-Gontran Damas, Léopold Sédar Senghor, and René Ménil, Jazz and Machine-Age Imperialism highlights the ways in which the French reception of jazz was bound up with a series of urgent contemporary debates about primitivism, imperialism, anti-imperialism, black and Creole consciousness, and the effects of American machine-age technologies on the minds and bodies of French citizens.
Jazz Internationalism offers a bold reconsideration of jazz's influence in Afro-modernist literature. Ranging from the New Negro Renaissance through the social movements of the 1960s, John Lowney articulates nothing less than a new history of Afro-modernist jazz writing. Jazz added immeasurably to the vocabulary for discussing radical internationalism and black modernism in leftist African American literature. Lowney examines how Claude McKay, Ann Petry, Langston Hughes, and many other writers employed jazz as both a critical social discourse and mode of artistic expression to explore the possibilities—and challenges—of black internationalism. The result is an expansive understanding of jazz writing sure to spur new debates.
Rich in anecdote and insight, Jazz Matters is a collection of essays, profiles, and reviews by Doug Ramsey, and observer and chronicler of jazz and its musicians for more than thirty years. It stirs the reader to discover or rediscover the music and performers Ramsey describes. His accounts of recording sessions and live performances enhance this excellent review of the history, variety, and artistic depth that make jazz so profound an element in modern culture.
Jazz Matters gives the reader a basis for understanding jazz improvisation Ramsey’s sensitive, straightforward, and entertaining pieces promote appreciation of the accomplishment of artists from Louis Armstrong to John Coltrane and Ornette Coleman.
Jazz is one of America's greatest gifts to the arts, and native Texas musicians have played a major role in the development of jazz from its birth in ragtime, blues, and boogie-woogie to its most contemporary manifestation in free jazz. Dave Oliphant began the fascinating story of Texans and jazz in his acclaimed book Texan Jazz, published in 1996. Continuing his riff on this intriguing musical theme, Oliphant uncovers in this new volume more of the prolific connections between Texas musicians and jazz.
Jazz Mavericks of the Lone Star State presents sixteen published and previously unpublished essays on Texans and jazz. Oliphant celebrates the contributions of such vital figures as Eddie Durham, Kenny Dorham, Leo Wright, and Ornette Coleman. He also takes a fuller look at Western Swing through Milton Brown and his Musical Brownies and a review of Duncan McLean's Lone Star Swing. In addition, he traces the relationship between British jazz criticism and Texas jazz and defends the reputation of Texas folklorist Alan Lomax as the first biographer of legendary jazz pianist-composer Jelly Roll Morton. In other essays, Oliphant examines the links between jazz and literature, including fiction and poetry by Texas writers, and reveals the seemingly unlikely connection between Texas and Wisconsin in jazz annals. All the essays in this book underscore the important parts played by Texas musicians in jazz history and the significance of Texas to jazz, as also demonstrated by Oliphant's reviews of the Ken Burns PBS series on jazz and Alfred Appel Jr.'s Jazz Modernism.
They may wear cowboy hats and boots and sing about "faded love," but western swing musicians have always played jazz! From Bob Wills and the Texas Playboys to Asleep at the Wheel, western swing performers have played swing jazz on traditional country instruments, with all of the required elements of jazz, and some of the best solo improvisation ever heard.
In this book, Jean A. Boyd explores the origins and development of western swing as a vibrant current in the mainstream of jazz. She focuses in particular on the performers who made the music, drawing on personal interviews with some fifty living western swing musicians. From pioneers such as Cliff Bruner and Eldon Shamblin to current performers such as Johnny Gimble, the musicians make important connections between the big band swing jazz they heard on the radio and the western swing they created and played across the Southwest from Texas to California.
From this first-hand testimony, Boyd re-creates the world of western swing-the dance halls, recording studios, and live radio shows that broadcast the music to an enthusiastic listening audience. Although the performers typically came from the same rural roots that nurtured country music, their words make it clear that they considered themselves neither "hillbillies" nor "country pickers," but jazz musicians whose performance approach and repertory were no different from those of mainstream jazz. This important aspect of the western swing story has never been told before.
Je me souviens invites post-intermediate students of French to improve their language skills while exploring the complex history and culture of Québec.
Drawing on cultural products from the earliest days of exploration to the present day, Elizabeth Blood and J.Vincent H. Morrissette curate an array of texts that sample Québécois literature, popular culture, art, music, and politics and frame the texts with pre-reading and post-reading activities, cultural notes, and historical overview sections. The interdisciplinary approach challenges students to improve their French language skills while learning about Québec. Thematically organized writings delve into issues central to understanding the many facets of contemporary Québécois identity, while prompts direct students to search for a range of materials online. Je me souviens is an essential resource for students interested in understanding the francophone world.
The first Greek text of the Epistle of Aristeas published in more than a century
The Greek text Epistle of Aristeas is a Jewish work of the late Hellenistic period that recounts the origins of the Septuagint. Long recognized as a literary fiction, the Epistle of Aristeas has been variously dated from the third century BCE to the first century CE. As a result, its epistolary features, and especially those in which the putative author, Aristeas, addresses his brother and correspondent, Philocrates, have largely been ignored. In light of more recent scholarship on epistolary literature in the Greco-Roman world, however, this volume presents for the first time a complete Greek text and English Translation with introduction, notes, and commentary of the Epistle of Aristeas with key testimonia from Philo, Josephus, and Eusebius, as well as other related examples of Jewish fictional letters from the Apocrypha and Pseudepigrapha.
Features
The Jewish Graphic Novel is a lively, interdisciplinary collection of essays that addresses critically acclaimed works in this subgenre of Jewish literary and artistic culture. Featuring insightful discussions of notable figures in the industryùsuch as Will Eisner, Art Spiegelman, and Joann Sfarùthe essays focus on the how graphic novels are increasingly being used in Holocaust memoir and fiction, and to portray Jewish identity in America and abroad
Featuring more than 85 illustrations, this collection is a compelling representation of a major postmodern ethnic and artistic achievement.
The seventh-century CE Hebrew work Sefer Zerubbabel (Book of Zerubbabel), composed during the period of conflict between Persia and the Byzantine Empire for control over Palestine, is the first full-fledged messianic narrative in Jewish literature. Martha Himmelfarb offers a comprehensive analysis of this rich but understudied text, illuminating its distinctive literary features and the complex milieu from which it arose.
Sefer Zerubbabel presents itself as an angelic revelation of the end of times to Zerubbabel, a biblical leader of the sixth century BCE, and relates a tale of two messiahs who, as Himmelfarb shows, play a major role in later Jewish narratives. The first messiah, a descendant of Joseph, dies in battle at the hands of Armilos, the son of Satan who embodies the Byzantine Empire. He is followed by a messiah descended from David modeled on the suffering servant of Isaiah, who brings him back to life and triumphs over Armilos. The mother of the Davidic messiah also figures in the work as a warrior.
Himmelfarb places Sefer Zerubbabel in the dual context of earlier Jewish eschatology and Byzantine Christianity. The role of the messiah’s mother, for example, reflects the Byzantine notion of the Virgin Mary as the protector of Constantinople. On the other hand, Sefer Zerubbabel shares traditions about the messiahs with rabbinic literature. But while the rabbis are ambivalent about these traditions, Sefer Zerubbabel embraces them with enthusiasm.
Tackling the myriad issues raised by Sander Gilman’s provocative opening salvo—”Are Jews Musical?”—this volume’s distinguished contributors present a series of essays that trace the intersections of Jewish history and music from the late nineteenth century to the present.
Covering the sacred and the secular, the European and the non-European, and all the arenas where these realms converge, these essays recast the established history of Jewish culture and its influences on modernity. Mitchell Ash explores the relationship of Jewish scientists to modernist artists and musicians, while Edwin Seroussi looks at the creation of Jewish sacred music in nineteenth-century Vienna. Discussing Jewish musicologists in Austria and Germany, Pamela Potter details their contributions to the “science of music” as a modern phenomenon. Kay Kaufman Shelemay investigates European influence in the music of an Ethiopian Jewish community, and Michael P. Steinberg traces the life and works of Charlotte Salomon, whose paintings staged the destruction of the Holocaust. Bolstered by Philip V. Bohlman’s wide-ranging introduction and epilogue, and featuring lush color illustrations and a complementary CD of the period’s music, this volume is a lavish tribute to Jewish contributions to modernity.
When he learned he had ALS and roughly two years to live, literary critic Mark Krupnick returned to the writers who had been his lifelong conversation partners and asked with renewed intensity: how do you live as a Jew, when, mostly, you live in your head? The evocative and sinuous essays collected here are the products of this inquiry. In his search for durable principles, Krupnick follows Lionel Trilling, Cynthia Ozick, Geoffrey Hartman, Philip Roth, Saul Bellow, and others into the elemental matters of life and death, sex and gender, power and vulnerability.
The editors—Krupnick’s wife, Jean K. Carney, and literary critic Mark Shechner—have also included earlier essays and introductions that link Krupnick’s work with the “deep places” of his own imagination.
This is the first full-scale history of the only organized American Jewish opposition to Zionism during the 1940s. Despite extensive literature on the Zionist movement, the Jewish opposition to Zionism has received only marginal and usually negative attention. In this impartial study, Thomas A. Kolsky examines the neglected phenomenon of Jewish anti-Zionism, its roots, and its results.
In 1942, a number of dissident Reform rabbis founded the American Council for Judaism, the first and only Jewish organization created to fight against Zionism and the establishment of a Jewish state. Emphasizing the purely religious nature of Judaism and unequivocally rejecting Jewish nationalism, the Council supported free Jewish immigration and equal rights for Jews throughout the world. For Palestine, specifically, it advocated establishment of a democratic state wherein all citizens, regardless of their religion, would enjoy equal political rights.
Summarizing both the history of Zionism and the history of American Jews, Kolsky traces the effects of the Holocaust on the Zionist movement and the personalities that shaped the leadership of the Council. Its position toward Zionism has particular contemporary relevance in understanding the historical relationship between Israel and the Palestinians.
Studies of Eastern European literature have largely confined themselves to a single language, culture, or nationality. In this highly original book, Glaser shows how writers working in Russian, Ukrainian, and Yiddish during much of the nineteenth century and the early part of the twentieth century were in intense conversation with one another. The marketplace was both the literal locale at which members of these different societies and cultures interacted with one another and a rich subject for representation in their art. It is commonplace to note the influence of Gogol on Russian literature, but Glaser shows him to have been a profound influence on Ukrainian and Yiddish literature as well. And she shows how Gogol must be understood not only within the context of his adopted city of St. Petersburg but also that of his native Ukraine. As Ukrainian and Yiddish literatures developed over this period, they were shaped by their geographical and cultural position on the margins of the Russian Empire. As distinctive as these writers may seem from one another, they are further illuminated by an appreciation of their common relationship to Russia. Glaser’s book paints a far more complicated portrait than scholars have traditionally allowed of Jewish (particularly Yiddish) literature in the context of Eastern European and Russian culture.
More than any other person, Jack C. Ellis notes, John Grierson, a Scot, was responsible for the documentary film as it has developed in English-speaking countries.
While in the United States in the 1920s, Grierson first applied the term documentary to Robert Flaherty's Moana. In 1927, Grierson returned to Britain, where he was hired to promote the marketing of products of the British Empire. The first practical application of Grierson’s theory of documentary film was Drifters, a 1929 short feature about herring fishing in the North Sea. That success led Grierson to establish the Empire Marketing Board Film Unit (later the General Post Office Film Unit).
In 1939, Grierson moved to Canada, leaving behind a legacy of some sixty British filmmakers who spread his ideas and techniques to other countries. In Canada, he progressed beyond national concerns to global problems. The National Film Board of Canada stands as the largest and most impressive monument to Grierson's concepts and actions in regard to the use of film by governments in communicating with citizens.
Ellis examines Grierson's accomplishments in detail, probing the complexities of Grierson's motivations and personality. His subject, a true titan in the world of documentary film, was the first filmmaker to use public and private institutional sponsorship—not the box office—to pay for his films. He also employed nontraditional distribution techniques, going outside the movie theaters to reach audiences in schools and factories, union halls, and church basements. Essentially, Grierson created documentary film and established an audience for it.
This is an analysis of the first 10 post—Cold War novels of one of the most significant ethicists in contemporary fiction.
This book challenges distinctions between “popular” and “serious” literature by recognizing le Carré as one of the most significant ethicists in contemporary fiction, contributing to an overdue reassessment of his literary stature. Le Carré’s ten post–Cold War novels constitute a distinctive subset of his espionage fiction in their response to the momentous changes in geopolitics that began in the 1990s. Through a close reading of these novels, Snyder traces how—amid the “War on Terror” and transnationalism—le Carré weighs what is at stake in this conflict of deeply invested ideologies.
For critics and listeners, the reception of the 1950s jazz-classical hybrid Third Stream music has long been fraught. In John Lewis and the Challenge of “Real” Black Music, Christopher Coady explores the work of one of the form’s most vital practitioners, following Lewis from his role as an arranger for Miles Davis’s Birth of the Cool sessions to his leadership of the Modern Jazz Quartet, his tours of Europe, and his stewardship of the Lenox School of Jazz.
Along the way Coady shows how Lewis’s fusion works helped shore up a failing jazz industry in the wake of the 1940s big band decline, forging a new sound grounded in middle-class African American musical traditions. By taking into account the sociocultural milieu of the 1950s, Coady provides a wider context for understanding the music Lewis wrote for the Modern Jazz Quartet and sets up new ways of thinking about Cool Jazz and Third Stream music more broadly.
John Reed (1887-1920) is best known as the author of Ten Days That Shook the World and as champion of the communist movement in the United States. Still, Reed remains a writer almost systematically ignored by the literary critical establishment, even if alternately vilified and lionized by historians and by films like Warren Beatty’s Reds.
John Reed and the Writing of Revolution examines Reed’s writing from a different critical perspective—one informed by a theoretical and practical understanding of literary nonfiction. In both politics and writing, John Reed defied fashion. In his short career, Reed transcended the traditional creative arts of fiction, poetry, and drama in favor of deeply researched histories composed with the cadence of fiction and the power of fact. Reed thereby alienated literary critics who had idealized timeless artistry against the rough-and-tumble world of historical details and political implications.
Working from a close investigation of rare articles, manuscripts, and the Reed papers at Harvard as well as from Reed’s published work, Daniel W. Lehman offers the first detailed literary study of the man who followed Pancho Villa into battle; wrote literary profiles of such characters as Henry Ford, William Jennings Bryan, and Billy Sunday; explicated the Byzantine factionalism of Eastern Europe; and witnessed the storming of the Winter Palace and the birth of Soviet Russia.
Published in the bicentennial year of Samuel Johnson’s death, Johnson and His Age includes contributions by some of the nation’s most eminent scholars of eighteenth-century literature. A section on Johnson’s life and thought presents fresh analyses of Johnson’s friendships with Mrs. Thrale and George Steevens, new information on Johnson’s relations with Smollett and Thomas Hollis, a speculative essay on “Johnson and the Meaning of Life,” and a provocative examination of “Johnson, Traveling Companion, in Fancy and Fact.”
Other essays reinterpret basic assumptions in Johnson’s criticism and examine “The Antinomy of Style” in Augustan poetics, Hume’s critique of criticism, and the broad Anglo-Scots inquiry on subjectivity in literature. A section on major figures of the age discusses Gray and the problems of literary transmissions, Hogarth’s book illustrations for friends, Gibbon’s oratorical “silences,” Blake’s concept of God, and Burke’s attempt to forestall Britain’s ruinous policy toward the American colonies. A section on the novel examines that genre from Richardson and Sterne to Austen.
Among the contributors are Bertrand H. Bronson, Jean H. Hagstrum, Patricia Meyer Spacks, Robert Haisband, Howard D. Weinbrot, Mary Hyde, Ralph W. Rader, Lawrence Lipking, Gwin J. Kolb, John H. Middendorf, W. B. Carruichan, and Max Byrd.
Avoiding the male-authored model of competing orations, French and Italian women of the Renaissance framed their dialogues as informal conversations, as letters with friends that in turn became epistles to a wider audience, and even sometimes as dramas. No other study to date has provided thorough, comparative view of these works across French, Italian, and Latin. Smarr's comprehensive treatment relates these writings to classical, medieval, and Renaissance forms of dialogue, and to other genres including drama, lyric exchange, and humanist invective -- as well as to the real conversations in women's lives -- in order to show how women adapted existing models to their own needs and purposes.
Janet Levarie Smarr is Professor of Theatre and Italian Studies at the University of California, San Diego.
Journeys beyond the Pale is the first book to examine how Yiddish writers, from Mendele Moycher Sforim to Der Nister to the famed Sholem Aleichem, used motifs of travel to express their complicated relationship with modernization. The story of the Jews of the Pale of settlement encompasses current-day Russia, the Ukraine, Belarus, and Poland.
Taking a fresh look at what the Greeks and Romans thought about Jews and Judaism, Peter Schäfer locates the origin of anti-Semitism in the ancient world. Judeophobia firmly establishes Hellenistic Egypt as the generating source of anti-Semitism, with roots extending back into Egypt’s pre-Hellenistic history.
A pattern of ingrained hostility toward an alien culture emerges when Schäfer surveys an illuminating spectrum of comments on Jews and their religion in Greek and Roman writings, focusing on the topics that most interested the pagan classical world: the exodus or, as it was widely interpreted, expulsion from Egypt; the nature of the Jewish god; food restrictions, in particular abstinence from pork; laws relating to the sabbath; the practice of circumcision; and Jewish proselytism. He then probes key incidents, two fierce outbursts of hostility in Egypt: the destruction of a Jewish temple in Elephantine in 410 B.C.E. and the riots in Alexandria in 38 C.E. Asking what fueled these attacks on Jewish communities, the author discovers deep-seated ethnic resentments. It was from Egypt that hatred of Jews, based on allegations of impiety, xenophobia, and misanthropy, was transported first to Syria-Palestine and then to Rome, where it acquired a new element: fear of this small but distinctive community. To the hatred and fear, ingredients of Christian theology were soon added—a mix all too familiar in Western history.
“Song Lyric,” ci, remains one of the most loved forms of Chinese poetry. From the early eleventh century through the first quarter of the twelfth century, song lyric evolved from an impromptu contribution in a performance practice to a full literary genre, in which the text might be read more often than performed. Young women singers, either indentured or private entrepreneurs, were at the heart of song practice throughout the period; the authors of the lyrics were notionally mostly male. A strange gender dynamic arose, in which men often wrote in the voice of a woman and her imagined feelings, then appropriated that sensibility for themselves.
As an essential part of becoming literature, a history was constructed for the new genre. At the same time the genre claimed a new set of aesthetic values to radically distinguish it from older “Classical Poetry,” shi. In a world that was either pragmatic or moralizing (or both), song lyric was a discourse of sensibility, which literally gave a beautiful voice to everything that seemed increasingly to be disappearing in the new Song dynasty world of righteousness and public advancement.
The first scholar to investigate the subject of women’s anger in early modern England, Gwynne Kennedy analyzes portrayals of and attitudes toward women’s anger in printed texts by or purporting to be written by women during the period.
Kennedy draws from recent critical work on emotions by historians, literary scholars, philosophers, and psychologists as well as comparative studies of the emotions by cultural anthropologists. Kennedy also examines a number of male-authored works, including sermons, conduct literature, philosophy, rhetoric, and medicine. The focus of her work, however, is on representations of women’s anger in printed works signed with women’s names in late sixteenth- and early seventeenth-century England. She addresses the ways these writings conform to, conflict with, or appear to reconfigure prevailing beliefs about women’s anger.
Kennedy looks at such literary texts as Mary Wroth’s romance, The Countess of Montgomery’s Urania, the first fiction by an English woman; Elizabeth Cary’s play, The Tragedy of Mariam, the earliest extant play in English by a woman; and Aemilia Lanyer’s verse collection, Salve Deus Rex Judaeorum. She also discusses religious writings by Protestant martyr Anne Askew and Elizabeth Cary’s history of Edward II. Kennedy considers as well defenses of women’s nature authored by women (Rachel Speght and Aemilia Lanyer) or published under female pseudonyms (“Jane Anger,” “Ester Sowernam,” and “Constantia Munda”).
Kennedy demonstrates the importance of class and race as factors affecting anger’s legitimacy and its forms of expression. She shows how early modern assumptions about women’s anger can help to create or exaggerate other differences among women. Her close scrutiny of anger against female inferiority emphasizes the crucial role of emotions in the construction of self-worth and identity.
By the time Jimi Hendrix died in 1970, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become “white”? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans.
Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the color line. In the 1960s, however, rock and roll gave way to rock: a new musical ideal regarded as more serious, more artistic—and the province of white musicians. Decoding the racial discourses that have distorted standard histories of rock music, Jack Hamilton underscores how ideas of “authenticity” have blinded us to rock’s inextricably interracial artistic enterprise.
According to the standard storyline, the authentic white musician was guided by an individual creative vision, whereas black musicians were deemed authentic only when they stayed true to black tradition. Serious rock became white because only white musicians could be original without being accused of betraying their race. Juxtaposing Sam Cooke and Bob Dylan, Aretha Franklin and Janis Joplin, Jimi Hendrix and the Rolling Stones, and many others, Hamilton challenges the racial categories that oversimplified the sixties revolution and provides a deeper appreciation of the twists and turns that kept the music alive.
Just Assassins is an engrossing collection of fourteen original essays that illuminate terrorism as it has occurred in Russian culture past and present. The broad range of writers and scholars have contributed work that examines Russian literature, film, and theater; historical narrative; and even amateur memoir, songs, and poetry posted on the Internet. Along with editor Anthony Anemone’s introduction, these essays chart the evolution of modern political terrorism in Russia, from the Decembrist uprising to the horrific school siege in Beslan in 2004.
As terrorism and the fear of terrorism continues to animate, shape, and deform public policy and international relations across the globe, Just Assassins brings into focus how Russia’s cultural engagement with its legacy of terrorism offers instructive lessons and insights for anyone concerned about political terror.
Gillian M. Rodger uses the development of male impersonation from the early nineteenth century to the early twentieth century to illuminate the history of the variety show. Exploding notions of high- and lowbrow entertainment, Rodger looks at how both performers and forms consistently expanded upward toward respectable—and richer—audiences. At the same time, she illuminates a lost theatrical world where women made fun of middle-class restrictions even as they bumped up against rules imposed in part by audiences. Onstage, the actresses' changing performance styles reflected gender construction in the working class and shifts in class affiliation by parts of the audiences. Rodger observes how restrictive standards of femininity increasingly bound male impersonators as new gender constructions allowed women greater access to public space while tolerating less independent behavior from them.
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