Pali Literature, including the Canonical Literature in Prakrit and Sanskrit of all the Hinayana Schools. K. R. Norman. Vol.VII, fasc.2, of A History of Indian Literature ed. Jan Gonda. Otto Harrassowitz, Wiesbaden 1983. X + 210pp. DM 98.

Sanskrit-Wörterbuch der buddhistischen Texte aus den Turfan-Funden und der kanonischen Literatur der Sarvastivada-Schule, Sanskrit Dictionary of the Buddhist Texts from the Turfan Finds and of the Canonical Literature of the Sarvastivada School. Begonnen von Ernst Waldschmidt. Im Auftrage der Akademie der Wissenschaften in Göttingen herausgegeben von Heinz Bechert. 10 Lieferung: kukkura/gandu-praticchadana - bearbeitet von Michael Schmidt und Siglinde Dietz. Vandenhoeck & Ruprecht, Göttingen 1998. I-III, 81, 160 pp. DM 54.

The Eternal Legacy: An Introduction to the Canonical Literature of Buddhism. Sangharakshita. Tharpa Publications, London 1985. xvi + 317pp. £7.50.

Sanskrit-Wörterbuch der buddhistischen Texte aus den Turfan-Funden und der kanonischen Literatur der Sarvastivada-Schule. Sanskrit Dictionary of the Buddhist Texts from the Turfan Finds and of the Canonical Literature of the Sarvastivada School. Begonnen von Ernst Waldschmidt. Im Auftrage der Akademie der Wissenschaften in Göttingen herausgegeben von Heinz Bechert. 11. Lieferung: gata/caturmahabhautika-editor: Michael Schmidt; contributors to the 11th fasc.: S. Dietz, P. Kieffer-Pülz, M. Schmidt. Vandenhoeck & Ruprecht, Göttingen 1999. 161-240 pp. 12. Lieferung: caturmaharajakayika/jvrcih-sikhopama - contributors to the 12th fasc.: (...) J. Chung, S. Dietz, P. Kieffer-Pülz, M. Schmidt. V & R, Göttingen 2000. I-III, 241-320 pp. 13. Lieferung: jvalana/trayo-dasa - contributors to teh 13 fasc.: J. Chung, S. Dietz, M. Schmidt. V & R, Göttingen 2001, I-II, 321-400 pp. Each fasc. DM 56. (shrink)

Sanskrit-Wörterbuch der buddhistischen Texte aus den Turfan-Funden und der kanonischer Literatur der Sarvastivada-Schule. Sanskrit Dictionary of the Buddhist Texts from the Turfan Finds and of the Canonical Literature of the Sarvastivada School. Begonnen von Ernst Waldschmidt. Im Auftrage der Akademie der Wissenschaften in Göttingen herausgegeben vin Heinz Bechert. 9. Lieferung: ka / kukkutyandavat - bearbeitet von Michael Schmidt und Siglinde Dietz. Vandenhoeck & Ruprecht, Göttingen 1996. I-IV, 1-80 pp. DM 54.

The rise of world literature is the most noticeable phenomenon in literary studies in the twenty-first century. However, truly well-known and globally circulating works are all canonical works of European or Western literature, while non-European and even "minor" European literatures remain largely unknown beyond their culture of origin. World Literature as Discovery: Expanding the World Literary Canon argues that world literature for our time must go beyond Eurocentrism and expand the canon to include great (...) works from non-European and "minor" European literatures. As much of the world's literature remains untranslated and unknown, the expansion will be an exciting process of discovery. By discussing fundamental questions around canon, circulation, aesthetic values, translation, cosmopolitanism and the literary universal, Zhang Longxi proposes a new and liberating concept of world literature that will shape world literature worthy of its name. This book speaks for a more inclusive idea of world literature, and shows students and scholars alike that all the literary traditions, particularly non-European traditions, will be able to make important contributions and expand the canon of world literature. (shrink)

It is startling to realize that Canadian literature was canonized in fewer than twenty years. Here is how it happened.At the end of World War II, Canadian literature was not taught as an independent subject in Canadian schools. There was no canon. In 1957, the publishing firm McClelland and Stewart introduced its mass-market paperback reprint series entitled the New Canadian Library. It allowed teachers to discuss the work of many Canadian authors who had never been the subject (...) of formal academic study. This New Canadian Library was truly “new”: prior to its conception, there was no “library” in use. There were no Canadian classics. Northrop Frye recalls that at that time the notion of finding a classic Canadian writer remained but “a gleam in a paternal critic’s eye.”1Frye’s comment must be placed in context: he was remembering the efforts that produced the first Literary History of Canada in 1965. In T. D. MacLulich’s words, its publication “gave a definitive imprimatur of respectability to the academic study of Canadian writing.”2 It made a Canadian canon seem possible; to many, it made the canon seem real. With the advent of this history, the institution called Canadian literature was born.3 1. Northrop Frye, “Conclusion,” in Literary History of Canada: Canadian Literature in English, 2d ed., ed. Carl F. Klinck et al., 3 vols. , 3:319.2. T. D. MacLulich, “What Was Canadian Literature? Taking Stock of the Canlit Industry,” Essays on Canadian Writing 30 : 19; hereafter abbreviated “WWCL.”3. My use of the term “Canadian literature” applies to English-Canadian literature; the canonization of French-Canadian, or Québecois literature, invokes another story and another set of political imperatives that cannot be adequately treated within the scope of this discussion.4. John Guillory, “Canonical and Non-Canonical: A Critique of the Current Debate,” ELH 54 : 483. Robert Lecker is professor of English at McGill University. He is the author of several critical studies, including On the Line , Robert Kroetsch , and An Other I , and coeditor of Essays on Canadian Writing, the multi-volume Canadian Writers and Their Works , and the eight-volume Annotated Bibliography of Canada’s Major Authors . Lecker is currently preparing a collection of essays on the Canadian canon. (shrink)

A major literary and theological force was at work in shaping the present form of the Hebrew Bible by which prophetic oracles directed to one generation were fashioned in Sacred Scripture by a canonical process to be used by another generation.

The Tale of Genji: Translation, Canonization, and World Literature. By Michael Emmerich. New York: Columbia University Press, 2013. Pp. xv + 494. $95, $35.

Although not exactly continuous, the Native American challenge to the canon, as I have tried to show, has been of comparatively long standing. Nonetheless, inasmuch as Native American literary production and Euramerican writing influenced by it have only barely begun to enter the courses in and the anthologies of general American literature, that challenge cannot be said to have been effective as yet. No doubt it will take more time for poets and teachers to recognize what Native American (...) literatures aboriginally were and, to some extent, still are; to recognize when and if the influence of these literatures is present in work by Native and non-Native writers. It is only since the 1950s and 1960s that philological and structural work has begun to make this recognition possible in any case.It is only more recently still that an adequately sophisticated criticism for these literatures has begun to develop, with the publication of Abraham Chapman’s basic and eclectic collection of essays, Literature of the American Indians: Views and Interpretations ; Karl Kroeber’s uneven but valuable introduction to the subject, Traditional Literatures of the American Indian: Texts and Interpretations ; and Hymes’ “In Vain I Tried to Tell You”: Essays in Native American Ethnopoetics , a collection of Hymes’ seminal and indispensable work. The broadest and most sophisticated collection of essays—gathering work by Hymes, Tedlock, Toelken, Kroeber, and others—has only just appeared: Smooting the Ground: Essays on Native American Oral Literature is edited by Brian Swann, a poet and translator of Mative American song.61 These developments are encouraging for Native American literatures. As American society continues to move away from anthropocentrism and textual authority, the Native tradition may for the first time effectively assert its claim upon the canon of American literature. 61. For his translations, see, for example, Swann’s Song of the Sky: Versions of Native American Songs and Poems . Swann works from texts, not performances, from English language versions, not transcriptions of Native languages; as a result, he has made a point of insisting, “These poems of mine are not translations” but instead “versions” of Native American poetry. Although he has given up specific claims to authenticity, Swann has nonetheless shown how much can be done by the non-Native poet and scholar responding to the Native tradition as a powerful source. Arnold Krupat is a member of the literature faculty at Sarah Lawrence College. He is the coeditor of the University of Nebraska Press’ Native American Autobiography Series and is currently completing an anthology of Native American autobiographies, Indian Lives. His previous contribution to Critical Inquiry, “An Approach to Native American Texts,” appeared in the December 1982 issue. (shrink)

A series of observations concerning the books of Obadiah, Jonah, and Micah raise questions about prophecy's very nature and pose the issues of definition and interpretation in a way that can help to address this problem for modern readers of biblical prophecy.

We associate the method of reflective equilibrium with developing principles of social justice, but it can also be used on a literary canon, with the aim of identifying principles of inclusion and exclusion. But I note three risks of doing so, using the American literary canon as an example.

Although canon-formation is, as Lecker suggests, a product of rhetoric and textual choices of critics, it is also a product of economic forces, political conflicts, and cultural expectations of coherence, “order,” and unitary explanation. Conditioned by some or all of these, an essay ostensibly skeptical of canons, as this one appears to be, can find itself nevertheless contributing to the thing it questions. In attempting to attribute the formation of a single national canon to a specific period , (...) to a specific and allegedly homogeneous group of actors , and to a specific social phenomenon , Lecker’s essay becomes another constructor of canonical text and theory. Behind its arguments that a canon suddenly came into being are fairly precise assumptions not only about “Canadian critics” but also about what constitutes canonicity, and about the relative legitimacy of canonicity claims. “At the end of World War II, Canadian literature was not taught as an independent subject in Canadian schools. There was no canon,” his essay begins . Is a school curriculum the only possible context for the attainment of literary “legitimacy”? Can there be no canon if a literature has no curriculum, education publishers, or “academic critics,” or if it has not been institutionalized as an “independent” subject? Frank Davey, chair of the department of English at York University, is the author of From There to Here: A Guide to English Canadian Literature Since 1960 , Surviving the Paraphrase , Margaret Atwood: A Feminist Poetics , and Reading Canadian Reading . He is also the editor of Open Letter and the on-line magazine Swiftcurrent. He is currently working on a study of nationalist ideologies in Canadian fiction entitled National Arguments. (shrink)

Este trabajo demuestra la presencia e influencia del canon literario en la enseñanza del Francés como Lengua Extranjera (FLE), condicionando las obras literarias en los manuales españoles para tal fin. Para ello, hemos seguido un itinerario que parte del análisis teórico del canon literario y de la inclusión de lo cultural en FLE para, a continuación, mostrar cómo este ha sido determinante en la enseñanza civilizacional. Todo ello se sustenta a través del estudio concreto de la literatura en (...) torno a la cultura vitivinícola. La conclusión es que, a través de este ejemplo, constatamos cómo se funden canon literario y literatura para el aula de FLE. (shrink)

In "Canonization and Variations of Shakespeare's Work in China," Qing Yang discusses the role of cross-linguistic and inter-cultural variations with regard to William Shakespeare's intercultural travel and canonization in China. In the context of globalization, Shakespeare's texts outside Western cultures undergo cross-national, cross-linguistic and inter-cultural variations in the process of translation. From a symbol of Western powers and cultures to a bearer of Confucianism, a fighter for the survival of the nation during the anti-Japanese struggle, and to a literary master (...) with abundant possibilities of interpretation and adaption today, Shakespeares change and vary in modern and contemporary China. The inter-cultural communication of Shakespeare with clear markings of Chinese culture and history progresses through variation. Yang argues that it is the paradigm of Shunqing Cao’s variation theory central to the formations of world literature that has facilitated the canonization of Shakespeare’s work in China. (shrink)

Literatures of Madness: Disability Studies and Mental Health brings together scholars working in disability studies, mad studies, feminist theory, Indigenous studies, postcolonial theory, Jewish literature, queer studies, American studies, trauma studies, and comics to create an intersectional community of scholarship in literary disability studies of mental health. The collection contains essays on canonical authors and lesser known and sometimes forgotten writers, including Sylvia Plath, Louisa May Alcott, Hannah Weiner, Mary Jane Ward, Michelle Cliff, Lee Maracle, Joanne Greenberg, Ann Bannon, (...) Jerry Pinto, Persimmon Blackridge, and others. The volume addresses the under-representation of madness and psychiatric disability in the field of disability studies, which traditionally focuses on physical disability, and explores the controversies and the common ground among disability studies, anti-psychiatric discourses, mad studies, graphic medicine, and health/medical humanities. (shrink)

W. B. Yeats’ poem “Politics” has as its epigraph Thomas Mann’s remark, “In our time the destiny of man presents its meaning in political terms.”1 Yeats chose the epigraph in 1938, just before World War II, for a poem proclaiming that sexuality holds his interest more than politics. This still may be true for poets, but by the looks of things, not for many contemporary critics, who, if they do not choose one over the other, subsume one under the other. (...) For them everything is political , which is to hold that everything is reduced to questions of power. So it is, in their eyes, with canons.The first canonization of note for western culture seems to have been that of the Hebrew Scriptures; and although there is much dispute about the whole matter of how that occurred, it is interesting to observe that in a 1971 book entitled The Shaping of Jewish History: A Radical New Interpretation Ellis Rivkin presents the development of that canon in political terms, arguing that production of the Hebrew Scriptures “was not primarily the work of scribes, scholars, or editors who sought out neglected traditions about wilderness experience, but of a class struggling to gain power.”2 In a very interesting article on this subject, Gerald L. Bruns observes that the lesson of this is that the concept of canon is not literary but a “category of power” . Rivkin himself decides, as Bruns remarks, to treat “the promulgation of canonical texts of the Scriptures, not according to literary criteria but according to power criteria” . Presumably it is this program that warrants Rivkin’s subtitle Radical New Interpretation. But what would the literary criteria that are opposed to power criteria here be? Are there any longer believers in the more than trivial existence of such criteria? Does the destiny of literature now present its meaning political terms? If there are no longer thought to be such things as literary criteria, is there, can there be, literature? We have heard answers in the negative to the last question; and the notion of canon has recently been addressed almost always in terms of politics and power, most notably, of course, but certainly not exclusively, by feminist and minority critics. The destiny of women’s writing has certainly presented its meaning in political terms. Hazard Adams is professor of English and comparative literature at the University of Washington. He has recently completed The Book of Yeats’ Poems and a collection of critical essays. (shrink)

The concept of the highest good is an important but hardly uncontroversial piece of Kant’s moral philosophy. In the considerable literature on the topic, challenges are raised concerning its apparently heteronomous role in moral motivation, whether there is a distinct duty to promote it, and more broadly whether it is ultimately to be construed as a theological or merely secular ideal. Yet comparatively little attention has been paid to the context of a doctrine that had enjoyed a place of (...) prominence in the ethical systems of the ancients, where these systems provided a key critical foil for the development of Kant’s own conception of the highest good in terms of “happiness distributed in exact proportion to morality” (cf. 5:110). Indeed, these ethical systems prove important for Kant not only in his initial presentation of his account in the Canon of Pure Reason in the first Critique, where he sought to redress the errors of the Epicurean and Stoic conception in particular, but also and importantly in the course of his development towards the second Critique. As I argue in this paper, Christian Garve’s defense of a revised but recognizably Stoic conception of the highest good in his translation of and commentary on Cicero’s De officiis (On Duties), helps to account for Kant’s renewed attention to that doctrine, and specifically to the errors attending the Stoic version, in the Dialectic of Pure Practical Reason. (shrink)

Arthur O. Lovejoy conceived of the history of ideas as an interdisciplinary study, encompassing a variety of fields, including literary history, comparative literature, the history of folklore and ethnography, the history of language and the history of religious beliefs. This volume gathers together some of the most significant articles concerning the theory and practice of intellectual history, by Lovejoy himself and other scholars. Contributors: DONALD R. KELLEY, ARTHUR O. LOVEJOY, FREDERICK J. TEGGART, LEO SPITZER, THEODORE SPENCER, ABRAHAM EDEL, PAUL (...) O. KRISTELLER, PHILIP P. WIENER, JOSEPH A. MAZZEO, LEONARD KRIEGER, DANIEL J. WILSON, EDWARD P. MAHONEY, FRANCIS OAKLEY,JOHANN HUIZINGA, JOSEPH KATZ, CALVIN G. RAND, NILS B. KVASTAD, LESTER G. CROCKER and PATRICK H. HUTTON. (shrink)

Over the years, Katie Cannon's students referred to her work in progress as "Katie's canon." Not only does this book represent the canon of Cannon's best work; the book itself directly addresses the issues of canon formation and canon reformation. Cannon canonizes a literary tradition and directly addresses both oppression and liberation of African American women. Now in an expanded 25th-anniversary edition, Katie's Canon still packs firepower.

Among the processes of canon-formation is the habit of coupling writers; and among the most powerful of couples in the traditional English literary canon is Spenser-and-Milton. Much of my own professional life has probably been determined by my first teaching assignment of 1963, which included “Spenser-and-Milton,” in those days at Toronto a famous cornerstone course carrying the tamp of the stamp of the formidable Renaissance scholar A. S. P. Woodhouse, known affectionately if disrespectfully to his students as Professor (...) Nature-and-Grace. For several years I labored mightily, though neither naturally nor, I suspect, gracefully, on Spenser-and-Milton, sensing all the time that the connections I made, the doctrines I was conveying, lacked persuasion; and no doubt the seed of this essay was sown in those days, although its angle of sight was not then available, obscured on all sides by institutional pillars.When we couple writers we usually imply a criterion of fit or at least explicable mating. While there is nothing to prohibit a merely comparativist curiosity, or coupling in the service of some other agenda, we presumably give greater authority to relationships that imply causality, even, or especially, if causality is defined as the influence of the one writer on the other. Most of such relationships are unidirectional, from the earlier to the later dead, and a plausible coupling requires either the successor’s own testimony that the influence-relation existed, or other evidence that the influence-relation was strong enough to be formative; or, preferably, both. Annabel Patterson, professor of literature and English at Duke University, is the author of Hermogenes and the Renaissance , Marvell and the Civic Crown , Censorship and Interpretation , Pastoral and Ideology: Virgil to Valéry , and Shakespeare and the Popular Voice. (shrink)

Categorical foundations and set-theoretical foundations are sometimes presented as alternative foundational schemes. So far, the literature has mostly focused on the weaknesses of the categorical foundations. We want here to concentrate on what we take to be one of its strengths: the explicit identification of so-called canonical maps and their role in mathematics. Canonical maps play a central role in contemporary mathematics and although some are easily defined by set-theoretical tools, they all appear systematically in a categorical framework. The (...) key element here is the systematic nature of these maps in a categorical framework and I suggest that, from that point of view, one can see an architectonic of mathematics emerging clearly. Moreover, they force us to reconsider the nature of mathematical knowledge itself. Thus, to understand certain fundamental aspects of mathematics, category theory is necessary (at least, in the present state of mathematics). (shrink)

The new G?ndh?r? manuscript finds from Afghanistan and Pakistan, which date from approximately the first century BCE to the third or fourth century CE, are the earliest manuscript witnesses to the literature of the Indian Buddhist nik?yas or schools. They preserve texts whose parallels are found in the various Tripi?akas, or what remains of them, preserved in other languages and belonging to various nik?yas, including sections of?gamas such as the Ekottarik?gama and Vana-sa?yutta of the Sa?yutta-nik?ya/Sa?yukt?gama and anthologies of such (...) s?tras, besides many texts that are not generally classed as "canonical", such as commentaries. These very early collections of texts raise questions concerning canon-formation, such as whether the Gandh?ran communities that produced these manuscripts had fixed?gama collections and closed canons or whether this material witnesses a stage in which collections and canons were still relatively fluid and open, and whether these manuscripts, which span several centuries, witness a shift towards fixity. This paper addresses these issues and re-examines our understanding of the formation of the canons of the early Indian nik?yas in light of the new G?ndh?r? manuscript finds. (shrink)

In case-marking languages with nominative-accusative alignment the subject of a sentence is usually marked by nominative case. In some of these languages, however, the subject of a number of verbs is either consistently or alternately marked by another, non-nominative case. Such non-canonical case marking has often been approached in the linguistic literature as a phenomenon at the interface between syntax and semantics. Yet the predictions of this kind of approach seem more probabilistic than regular. This paper offers a new (...) perspective to analyse the phenomenon, which encompasses the role of information structure in case marking. Drawing on Silverstein’s theory of differential subject marking and Dalrymple & Nikolaeva’s approach to differential object marking, it is argued that non-canonically case-marked subjects can be better analysed as instances of either non-topical subjects or subjects lacking one or more semantic features typical of topicality. The approach outlined in the paper is tested on a number of constructions in Russian and Lithuanian. It is shown how, in both languages, the analysed instances of non-canonically case-marked subjects exhibit a complex interplay among grammatical, semantic and discourse-pragmatic factors. (shrink)

The history of freedom is the record of what men have said and done and the interpretation of the remains of what they have made. The history of freedom of thought and expression, the history of literature and of criticism, is constructed by interference from those records and remains. The documents and artifacts in which thoughts are embodied and expressed and in which historians detect ideas and uncover their consequences in thought and action are the primary matter of the (...) history of freedom of thought and expression. The production of books or other modes of expression, their preservation, dissemination, interpretation, and use are results at each stage of the interplay of freedom and restraint, spontaneity and judgment. The freedom of writers to write, the freedom of readers to read, and the freedom of critics or judges or censors to select criteria which establish communities united by common opinions, beliefs, or institutions supplement and delimit each other. Richard McKeon, editor of The Basic Works of Aristotle, delivered this paper at the International Conference on Freedom of Thought and Expression in the History of Ideas held by the International Society for the History of Ideas in Venice, September 28—October 2, 1975. The essay will be included in a volume of the papers read at the conference to be published by the Society. His contributions to Critical Inquiry include "Arts of Invention and Arts of Memory: Creation and Criticism" and “Pride and Prejudice: Thought, Character, Argument, and Plot”. (shrink)

“The important point about a rule of thumb,” says E. D. Hirsch, “is that it is not a rule.” That depends very much on what a rule is or is said to be. Hirsch does not give an explicit answer to the question. Presumably, he means that a rule is criterially determinate and exceptionless; or, that it allows only a notably limited range of indeterminacy within an acknowledged space of application. Explicit and exceptionless rules are almost unheard of in ordinary (...) life—certainly they are quite rare in the practice of interpreting literature: they tend to sacrifice their usefulness in direct proportion to their insisting on fixity. But if the severe requirement were softened, it would be hard to say that a rule of thumb was not a rule; for, clearly, there cannot be a fixed rule for settling the acceptable indeterminacy of some prior rule. (shrink)

A brief essay on taste -- The dreadful legacy of modernism -- Is Shakespeare any good? -- Mad theories -- Defining literature: the bete noir of academia -- Evaluation -- Popular literature -- Is literature any good for us?.

Starting symbolically from a place of transit and mobility such as the Galleria in Naples, I look at the pace of immigration movements to Italy from both ex-colonial territories and other countries. Precarity characterizes the migrant condition in Italy: entrance and stay permits; work and housing, which are difficult to obtain and always temporary; bureaucratic control is severe and the right to citizenship is distant. The collective amnesia of the colonial enterprise obscures the fact that at least some of the (...) guests of today were the hosts of yesterday. I analyse these, and other aspects, in the literature of migration that in recent decades has emerged in Italy, focusing on women's writing and confronting the problem of how long it will take for this literature to receive recognition in the Italian literary canon. In women's narratives, precarity emerges in the journey of emigration, described as a real odyssey; in tensions over identity and language; in contrasting cultures of departure and cultures of destination; in the problematic concept of ‘home’. Racial and gender differences subsumed in the colour of skin are a recurrent motif. For women, hardships may be more deeply felt: isolation and loneliness is augmented by the distance from children and family; the relationship between past and present more troublesome as it often leads to a double oppression. independence is more fiercely fought for in the affirmation of identity. Finally, I show that, alongside conditions of isolation and despair, strength and hope in the new life emerge from these writings, touching on the importance of writing in Italian and on the motives leading to this choice. (shrink)

Categorical names such as “The English Novel,” “The Modern American Novel,” and “American Literature” often turn up in catalogs as titles of college courses, and we know from them pretty much what to expect. They also have standing in critical discourse, along with allied terms unlikely to serve as course titles: “good writing,” “great literature,” “serious fiction,” “literature” itself. The awareness has grown in recent years that such concepts pose problems, even though we use them with easy (...) enough comprehension when we talk or write to others who share our cultural matrix.Lately, critics like Raymond Williams have been reminding us that the categories change over time and that at any given moment categories embody complex social relations and a continuing historical process. That process deeply invests all terms with value: since not everyone’s values are the same, the negotiating of such concepts is, among other things, a struggle for dominance—whether between adults and the young, professors and their students, one class and another, or men and women. We don’t usually notice the power or the conflict, except when some previously weak or silent group seeks a share of the power: for example, when, in the 1960s, American blacks and their supporters insisted that black literature be included in school and college curricula, or when they openly challenged the candidacy of William Styron’s Confessions of Nat Turner for inclusion in some eventual canon.1 But the gradual firming up of concepts like, say, postwar American fiction is always a contest for cultural hegemony, even if in our society if is often muted—carried on behind the scenes or in the seemingly neutral marketplace. 1. See John Henrik Clarke, ed., William Styron’s Nat Turner: Ten Black Writers Respond . Richard Ohmann is professor of English at Wesleyan University. He is the author of English in America and is presently working on studies in mass culture. (shrink)

Abstract:This article analyzes the use of classical references in Monica Youn's collection Blackacre. Inspired by rhizomatic models of classical reception studies, my reading focuses on the relationship between classical references in the body of the poems, on the one hand, and classical references in the paratexts on the other hand. I argue that Youn's oblique engagement with classical material exposes the limitations of an arborescent or genealogical model of reception and, on a related note, the constraints imposed by the construct (...) of the canon as Youn leverages the heterogeneity of Asian American literature to resist the idea of a simple, hierarchical, one-way classical canon. (shrink)

Nostalgia is only the beginning of a recognizably ideological discourse. The way through to the ideological sense of Tennyson’s “failure,” beneath the phenomenal glow of Eliot’s nostalgia, lies in the entanglement of minority in this complex of meanings, the determination that Tennyson is properly placed when seen as a “minor Virgil.” The diffusion of a major talent in minor works suggests that what Tennyson or Eliot might have been was another Virgil, and for Eliot that means simply a “classic.” In (...) “What Is a Classic?,” we are told that English literature has no classic poet who would exalt, as Virgil or Dante did, the truths of his age.14 The absence of a modern classic reflects not an individual failure but rather the absence of a universal truth, which has been hidden in the minor works. Here is the reason both for the ambivalence Eliot expresses about the fact of minority and for the peculiar, and certainly not necessary, association of poetic minority with a marginal elite.15It is the latter point to which I now want to turn. If it has been shown that the canon Eliot legislated in his early career was not merely an arbitrary set of aesthetic preferences, we have not yet fully evinced the ideological sense of Eliot’s canonical principle. We have only determined that one way to reconstruct Eliot’s canon would be to list those “minor” poets. But the essential quality of their minority, what drives them away from the “mainstream” of English literature, is what Eliot approved as their fidelity to “tradition.” Such a concept of tradition must be exclusive as well as revisionary, because it implies that the major poets of English literary history cannot also be “traditional.” Eliot finally understood that his canonical principle was the literary reflection of a more fundamental evaluative norm, extrinsic to literature, which he identified as “orthodoxy.” So he tells us in After Strange Gods that he is rewriting “Tradition and the Individual Talent” by substituting “orthodoxy” for “tradition,” and this is unquestionably an ideological correction.16 In the same way, the canon of minor writers is established retrospectively as determined by the rule of orthodoxy. Neither they nor the young Eliot need be orthodox Christians for this rule to have enabled their productions. It is precisely Eliot’s meaning that these elite, like the “elect” before them, may come at some point to a conviction of their election, yet they were always the elect. In this sense, Eliot’s conversion to Christianity was the recognition that he already belonged to a marginal elite, whose membership had been polemically foreshadowed by the construction of an alternative canon. 14. The whole argument of “What Is a Classic?” is interesting in this respect. Eliot’s standard of classical value is “universality,” which is opposed to the “provincial.” The closest English literature comes to a classical age is in the eighteenth century, and this too fails because its “restriction of religious sensibility itself produces a kind of provinciality: the provinciality which indicates the disintegration of Christendom, the decay of a common belief and a common culture”.15. But at least a hint about how to make this connection is given in Eliot’s “The Classics and the Man of Letters,” To Criticize the Critic : “The continuity of literature is essential to its greatness; it is very largely the function of secondary writers to preserve this continuity, and to provide a body of writings which is not necessarily read by posterity, which plays a great part in forming the link between those writers who continue to be read”.16. Eliot, After Strange Gods: A Primer of Modern Heresy, p. 22. John Guillory, assistant professor of English at Yale University, is the author of Poetic Authority: Spenser, Milton, and Literary History. He is currently working on a study of canon-formation. (shrink)

Herman Sinaiko is renowned for his gifts as a guide to exploring and appreciating the humanities. This book brings to general readers Sinaiko’s thoughts on, and invitations to read or reread, a wide selection of major literary and philosophical works—from ancient Greek to Chinese to modern. Taking a conversational approach, he deals with the perennial questions that thinking people have always raised, and investigates how works of great art may provide answers to these questions. Sinaiko reestablishes the notion that there (...) is a canon of great works from the great traditions of the world and argues for the existence of permanent standards of excellence. He rejects most contemporary critical views of classical literature and philosophy, including those of "experts" who seek to monopolize access to great works, academics whose extreme emphasis on historical context disallows any current relevance, and theorists whose lenses distort with personal bias rather than sharpening focus on the works they discuss. Sinaiko reclaims the canon for all of us, opening up discussion on texts ranging from Plato to Tolstoy, Confucius to Mary Shelley, and encouraging each reader to listen and respond to the rich diversity of powerful views on the human condition that such great works offer. (shrink)

While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, (...) and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims. (shrink)