In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and (...) invites us to reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

Kaplan suggests that these major figures works are linked by the myths of genesis of a new political culture.

It is important for the materialist historian, in the most rigorous way possible, to differentiate the construction of a historical state of affairs from what one customarily calls its "reconstruction." The "reconstruction" in empathy is one- dimensional. "Construction" presupposes "destruction." Almost fourteen years after the death of Jacques Derrida, the least one can say is that his inheritance is as contested and fraught with rivalries, rejections, and appropriations as at the time of the flowering of Deconstruction in American universities (...) in the seventies and eighties. A halt was observed in 1988-89 after the posthumous revelations about Paul de Man's past in Belgium and Derrida's embattled defense of his friend. Today, in France, one often hears that "Derrida a fait l'Ecole mais n'a pas fait ecole," meaning that Derrida passed the entrance examination of the prestigious Ecole Normale Superieure where he taught for a long time, where he met Paul Celan, Louis Althusser, Michel Foucault and many other luminaries, whereas he never had a real "school" in France-no real institutional backing beyond the various Parisian places at which he taught later, or those that he founded like the College de Philosophie; his following constituted of young philosophers, only a few of whom became university professors in their turn and disseminated his teachings. However, the mechanisms of power within the French university remained closed to Derrida until the end; besides, he wanted to prevent the stereotyped reproduction currently observed from master to disciple. (shrink)

Why do Americans, and so often, American writers, profess moral sentiments and yet write so little in the traditionally "moralistic" genres of maxim and fable? What is the relation between "moral" concerns and literary theory? Can any sort of morality survive the supposed nihilism of deconstruction? Jefferson Humphries undertakes a discussion of questions like these through a comparative reading of the ways in which moral issues surface in French and American literature. Humphries takes issue with the "amoral" view (...) of deconstruction espoused by many of its detractors, arguing that the debate between the theory's advocates and opponents comes down to two opposing literary and moral traditions. While the American tradition views morality as a rigid system capable of being enforced by injunctions along the lines of "Thou shalt" and "Thou shalt not," the French tradition conceives of morality as a function of a relentless and unsentimental pursuit of truth, and finally, an admission that "truth" is not a static thing, but rather an ongoing process of rigorous thought. (shrink)

This book offers timely contributions to the process of conceptualizing a Latin American specificity and its forms of integration in larger contexts, both on the level of thought and the level of political and social praxis. To produce a critical reading of philosophy while also developing a philosophy of criticism is essential in cultures that continue to struggle for the decolonization of both thought and life. This book allows Anglophone readers access to the world of ideas of some (...) of the most relevant Latin American thinkers of our age. Through a comprehensive discussion of the works and contexts of thinkers such as of José Carlos Mariátegui, Enrique Dussel, Bolívar Echeverría, and Roger Bartra to Walter Benjamin, Michel Foucault, Pierre Bourdieu, and Peter Sloterdijk, Mabel Moraña demonstrates that Latin American thought has not only been inseparable from Western philosophy but also from the determinants of its history and social struggles. By doing so, Mabel Moraña provides an extensive perspective on the connections between historical moments, social structures, and discursive practices. With its interdisciplinary focus, this book will be an important resource for scholars and students in Latin American studies, comparative literature, world literature, and philosophy. (shrink)

American cultural technologies of the early nineteenth century shaped Nature and the synonymous "native" in contradictory ways: celebrating the wilderness but then transforming it by cultivation, mourning lost "natives" (both people and species) while also naturalizing the succession of new Euro-American settlers. Settler colonial geopolitics understood its own territorial claims in association with the retreats, migrations, and expansions of select species populations: cattle replacing American bison or Euro-Americans replacing Indians on the western frontier. In this way, Euro- (...) class='Hi'>American descendants of settlers who then considered themselves "natives" could be the natural stewards to "preserve" or "reform" wild remnants of nature while also identifying against the encroachment of the Old World. Technological arts as varied as moving panoramas and picturesque sketches depicted and enacted civilization overtaking the wild frontier through visual tours. This chapter explores how the sketch fits into technologies of seeing accompanying American settler colonialism and points to moments when it suggests ecological processes of ongoing passage rather than terminal extinction or succession. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 62-79 [Access article in PDF] Literature Itself:The New Criticism and Aesthetic Experience Daniel Green I AFTER ALMOST TWO DECADES of tumult and transformation in university departments that still claim literature as part of their disciplinary domain, what is most remarkable about literary study at the beginning of the twenty-first century is how similar it is to what passed for such study at the (...) beginning of the twentieth century. Like philology one hundred years ago, academic literary study today—at least at the most eminent universities and in the most prestigious journals—is a highly esoteric activity, unlikely to appeal to anyone outside its own "professional" boundaries, anyone whose foremost interest in works of literature is simply to read them. It is, therefore, an endeavor that could hardly exist outside the university's institutional protection, and it is most strikingly concerned not with the appreciation of the intrinsic qualities of literature but with the historical and cultural "knowledge" that can be acquired from works of literature through a special kind of analysis. The effort, chronicled by Gerald Graff in Professing Literature, to make "literature itself" the focus of academic study and to establish "aesthetic criticism" as the primary mode of literary study must surely be judged a failure, the current academic scene clearly dominated by the sort of scholars Graff terms "investigators." 1But of course the motives for rejecting the merely literary as a focus of study are quite different among current scholarly investigators as compared to the philologists of 1901. The attitude of the latter can probably be captured in the words of one of them quoted by Graff: "Why then waste time and brains in thrashing over again something which is after all only subjective opinion? Mere aesthetic theorizing [End Page 62] should be left to the magazine writer or to the really gifted critic" (p. 124). Such "researchers" did not deny the value of reading works of literature; they simply considered this value to be essentially "subjective," not an appropriate object of academic scrutiny. While these remarks do imply some condescension toward the "really gifted critic" and this critic's "mere aesthetic theorizing," they do not repudiate the very idea of an aesthetic approach to literature. The present generation of academics engaged in the investigation of literature, on the other hand, have repudiated the aesthetic approach, either explicitly, through the well-publicized critiques of the canon, of the very notion of the great work, or of the remaining approaches still associated with New Criticism, or implicitly through the gradual establishment of cultural investigation as the new norm for the professional training of graduate students and as the dominant mode of analysis in the influential journals. Moreover, the primary motive behind the renunciation of the aesthetic has more to do with politics than with methodology: for these scholars, the aesthetic is literally useless, quite irrelevant to the paramount goal of "intervening" in a continuing ideological struggle that is thought to be the main business of the university scholar.In the context of the history of modern literary criticism (as opposed to the history of the American university), the current situation mirrors that which prompted the emergence of The New Criticism in the 1930s. Although Vincent Leitch identifies "the evocative mode of Impressionist criticism, the moralism of Neo-Humanism, the anti-modernist cultural criticism of Mencken and Van Wyck Brooks," as well as the "sociologizing" of Marxist criticism" as the collective bêtes noires of the New Critics, it was clearly the latter they considered to be the most unwelcome. Not only had it effectively eclipsed the other practices, but it could be said to have exhibited most of those characteristics against which New Criticism expressed the deepest antipathy. 2 Compared to the close reading New Critics would espouse, Marxist criticism was superficial, willing to settle for the most readily available interpretation (according to the Marxists' own critical assumptions), moralistic, committed to the idea that the best literature was that which could be shown to be good for you, historicist, concerned to place works... (shrink)

Examines the connections between American philosophy and literature. This title includes discussion of subjects ranging from Stephen Crane's metaphysics to business ethics in William Dean Howells, pragmatic religion in Willa Cather and Harold Frederic, John Steinbeck's philosophy of work, and Norman Maclean's philosophy of community.

Explores the embodied aspects of ownership and private property as these emerge in a range of American literary texts across the late eighteenth and early nineteenth century.

Explores the embodied aspects of ownership and private property as these emerge in a range of American literary texts across the late eighteenth and early nineteenth century.

Robert Abrams argues that new concepts of space and landscape emerged in mid-nineteenth-century American writing, marking a linguistic and interpretative limit to American expansion. Abrams supports the radical elements of antebellum writing, where writers from Hawthorne to Rebecca Harding Davis disputed the naturalizing discourses of mid-nineteenth century society. Whereas previous critics find in antebellum writing a desire to convert chaos into an affirmative, liberal agenda, Abrams contends that authors of the 1840s and 50s deconstructed more than they constructed.

The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is (...) interesting to delve into the way Crane approaches painting in general and Siqueiros’ œuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—”Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature. (shrink)

In Geography and the Production of Space in Nineteenth-Century American Literature, Hsuan L. Hsu examines how literature represents different kinds of spaces ranging from the single-family home to the globe. He focuses on authors such as Charles Brockden Brown, Edgar Allan Poe, Herman Melville and Sarah Orne Jewett, who drew on literary tools such as rhetoric, setting, and point of view to mediate between individuals and different kinds of spaces. These authors used forms such as the regional sketch, the (...) domestic novel, and the detective story to re-examine how local spaces and communities would change when incorporated into global economic and political networks. Geography and the Production of Space in Nineteenth-Century American Literature is valuable reading for American literature scholars, and for all concerned with intersections between literature and geography"--Provided by publisher. (shrink)

Examining the literature of slavery and race before the Civil War, Maurice Lee demonstrates for the first time exactly how the slavery crisis became a crisis of philosophy that exposed the breakdown of national consensus and the limits of rational authority. Poe, Stowe, Douglass, Melville, and Emerson were among the antebellum authors who tried - and failed - to find rational solutions to the slavery conflict. Unable to mediate the slavery controversy as the nation moved toward war, their writings form (...) an uneasy transition between the confident rationalism of the American Enlightenment and the more skeptical thought of the pragmatists. Lee draws on antebellum moral philosophy, political theory, and metaphysics, bringing a fresh perspective to the literature of slavery - one that synthesizes cultural studies and intellectual history to argue that romantic, sentimental, and black Atlantic writers all struggled with modernity when facing the slavery crisis. (shrink)

This book argues that the negotiation of agency is central not only to the experience of war but also to its representation in cultural expressions, ranging from a notion of disablement, expressed in victimization, immobilization, traumatization, and death, to enablement, expressed in the perpetration of heroic, courageous, skillful, and powerful actions of assertion and dominance. In order to illustrate this thesis, it provides a comprehensive analysis of literary representations of the American War of Independence from 1775, the beginning of (...) the war, up until roughly 1860, when the Civil War marked a decisive historical turning point. As the first national war, it has an unquestionably exemplary status for the development of American conceptions of war. The in-depth study of exemplary texts from a variety of genres and by authors like Thomas Paine, Benjamin Franklin, James Fenimore Cooper, Catharine Sedgwick, William Gilmore Simms, and Herman Melville, demonstrates that the overall character of Revolutionary War literature presents the war as a forum in which collective and individual agency is expressed, defended, and cultivated. It uses the military environment in order to teach the values of discipline and self-subordination to a communal good, which are perceived as basic principles of a Republican virtue to guide the actions of the autonomous individual in a popular democracy. (shrink)

Contemporary African American and Black British Women Writers: Narrative, Race, Ethics brings together British and American scholars to explore how, in texts by contemporary black women writers in the U. S. and Britain, formal narrative techniques express new understandings of race or stimulate ethical thinking about race in a reader. Taken together, the essays also demonstrate that black women writers from both sides of the Atlantic borrow formal structures and literary techniques from one another to describe the workings (...) of structural racism in the daily lives of black subjects and to provoke readers to think anew about race. Narratology has only recently begun to use race as a category of narrative theory. This collection seeks both to show the ethical effects of narrative form on individual readers and to foster reconceptualizations of narrative theory that account for the workings of race within literature and culture. (shrink)

This book argues for a new reading of the political and ethical through the literatures of Argentina, Chile, and Paraguay from 1970-2000. Carlos Amador reads a series of examples from the last dictatorship and the current post-dictatorship period in the Southern Cone, including works by Augusto Roa Bastos, Roberto Bolaño, Ceferino Reato, Horacio Verbitsky, Nelly Richard, Diamela Eltit, and Willy Thayer, with the goal of uncovering the logic behind their conceptions of belonging and rejection. Focusing on theoretical concepts that make (...) possible the formation of any and all communities, this study works towards a vision of literature as essential to the structure of ethics. (shrink)

The novels of David Foster Wallace, Dave Eggers and Jonathan Safran Foer are increasingly regarded as representing a new trend, an 'aesthetic sea change' in contemporary American fiction. 'Post-postmodernism' and 'New Sincerity' are just two of the labels that have been attached to this trend. But what do these labels mean? What characterizes and connects these novels? Dulk shows that the connection between these works lies in their shared philosophical dimension. On the one hand, they portray excessive self-reflection and (...) endless irony as the two main problems of contemporary Western life. On the other hand, the novels embody an attempt to overcome these problems: sincerity, reality-commitment and community are portrayed as the virtues needed to achieve a meaningful life. This shared philosophical dimension is analyzed by viewing the novels in light of the existentialist philosophies of Soren Kierkegaard, Jean-Paul Sartre, Ludwig Wittgenstein and Albert Camus. (shrink)

Analyzing writings ranging from the Puritans to the present day, Loving God's Wildness traces the effects of Christian theology on America's ecological imagination, revealing the often conflicted ways in which Americans relate to and perceive the natural world.

This book is the first detailed study of the plays of Sophocles through examination of a single ethical principle--the traditional Greek popular moral code of "helping friends and harming enemies." Five of the extant plays are discussed in detail from both a dramatic and an ethical standpoint, and the author concludes that ethical themes are not only integral to each drama, but are subjected to an implicit critique through the tragic consequences to which they give rise. Greek scholars and students (...) of Greek drama and Greek thought will welcome this book, which is presented in such a way as to be accessible to specialists and nonspecialists alike. No knowledge of Greek is required. (shrink)

Engaging existentialism: transformative possibilities and local agendas -- The Mexican existentialist ethos -- The seminal Mexican existentialism of Rodolfo Usigli's theater -- Excavating Comala: the existentialist Juan Rulfo, the Grupo Hiperión, and lo mexicano in Pedro Páramo -- "Christs for all passions": José Revuelta's El luto humano [Human mourning] -- Rosario Castellanos's freedom.

For more than a decade Nina Baym has pioneered in the reexamination of American literature. She has led the way in questioning assumptions about American literary history, in critiquing the standard canon of works we read and teach, and in rediscovering lost texts by American women writers. Feminism and American Literary History collects fourteen of her most important essays published since 1980, which, combining feminist perspectives with original archival research, significantly revise standard American (...) literary history. In Part I, "Rewriting Old American Literary History," the focus is on male writers. Essays range from close readings of individual works to ambitious critiques of the main paradigms by which scholars have conventionally linked disparate texts and authors in a narrative of nationalist literary history: the self-in-the-wilderness myth, the romance-novel distinction, the myth of New England origins. Part II, "Writing New American Literary History," studies examples of women's writing from the Revolution through the Civil War. Stressing much overtly public and political writing that has been overlooked even by feminist scholars, noting public and political themes in supposedly domestic works, the essays substantially modify and historicize the paradigm by which premodern American women's writing is currently understood. The contentious and influential essays in Part III, "Two Feminist Polemics," address feminist literary theory and pedagogy, advocating a pluralist practice as the basis for scholarship, criticism, and humane feminism. No one interested in American literature or in women's writing can afford to ignore Baym's revisionist work. Humorous and gracefully written, this book is enjoyable and indispensable. (shrink)

If any emergent historical criticism will tend by its own choice toward inclusiveness and eclecticism, it is also likely to be constrained by more subtle forms of complicity with the theoretical subculture within which it seeks its audience. It is not in principle impossible that we might choose to set going an initiative that is very different indeed from the methods and approaches already in place. But is nonetheless clear that we must be aware, in some propaedeutic way, of (...) the predispositions for or against such change that are latent in the horizons of the field as they are presently conceived and transmitted. An account of these predispositions will take up most of the following essay. Whether or not the particular texts I shall discuss constitute anything as firm as an establishment in the absolute sense does not matter much: they neither sum up the ongoing careers of their particular authors, in the diachronic sense, nor do they represent any simple totality in the critical culture of the late 1960s. All we need here is the weaker assumption: that these writings by Derrida, Paul de Man, Michel Foucault, and Pierre Macherey do offer, by virtue of their very notoriety, evidence of the priorities within the discipline that have afforded them their reputations in the first place. Thus, while they do not in themselves prohibit the emergence of alternatives, they do give us clues about the residual pressures that might constrain those alternatives, and they signal the questions that the historical party must respond to if it is to be recognized as making an important contribution to a debate. My argument will be that the influential critics of the late 1960s have made it very hard indeed to find a place for history, so much so that the avowedly Marxist alternative set forth by Jameson finds itself making disabling concessions to those very influences. I do not claim to describe the entire range of options and alternatives, and indeed offer no discussion of the most excitingly contested field of all, that represented by contemporary feminisms. I mean instead to demonstrate, through a reading of those methodologies that have become authoritative, that the status of historical inquiry has been so eroded that its reactive renaissance, in whatever form, threatens to remain merely gestural and generic. “History” promises thus to function as legitimating any reference to a context beyond literature exclusively conceived, whether it be one of discourse, biography, political or material circumstance. In particular, given the current popularity of discourse analysis, it seems likely that for many practitioners the historical method will remain founded in covertly idealist reconstructions. David Simpson is professor of English and comparative literature at the University of Colorado, Boulder. He is the author of various books and essays, most recently The Politics of American English, 1776-1850 and Wordsworth’s Historical Imagination: The Poetry of Displacement. (shrink)

Age of Anxiety: Meaning, Identity, and Politics in 21st Century Film and Literature applies historical and contemporary political and rhetorical theory to current popular culture to discuss the problem of the displaced autonomous self and the quest for a meaningful life.

Political Economy and the Novel: A Literary History of 'Homo Economicus' provides a transhistorical account of homo economicus (economic man), demonstrating this figure's significance to economic theory and the Anglo-American novel over a 250-year period. Beginning with Adam Smith's seminal texts - Theory of Moral Sentiments and The Wealth of Nations - and Henry Fielding's A History of Tom Jones, this book combines the methodologies of new historicism and new economic criticism to investigate the evolution of (...) the homo economicus model as it traverses through Ricardian economics and Jane Austen's Sanditon; J. S. Mill and Charles Dickens' engagement with mid-Victorian dualities; Keynesianism and Mrs Dalloway's exploration of post-war consumer impulses; the a/moralistic discourses of Friedrich von Hayek, and Ayn Rand's Atlas Shrugged; and finally the virtual crises of the twenty-first century financial market and Don DeLillo's Cosmopolis. Through its sustained comparative analysis of literary and economic discourses, this book transforms our understanding of the genre of the novel and offers critical new understandings of literary value, cultural capital and the moral foundations of political economy. (shrink)

He challenges methods of doing ethics that attempt to specify universally binding principles or rules and argues for the need to bring literature back into ...

The book addresses influences and affinities in the context of the history of ideas, literary theory and criticism. It brings together American Transcendentalism, Negritude, African religions and philosophy.

Before 1800 nothing was irrelevant. So argues Elisa Tamarkin's sweeping cultural history of a key shift in consciousness: the arrival, around 1800, of "relevance" as the means to grasp how something previously disregarded becomes important and interesting. At a time when so much makes claims to attention every day, how does one decide what is most valuable right now? This is not only a contemporary problem. For Ralph Waldo Emerson, the question for the nineteenth century was how, in the (...) immensity and "succession" of objects, anything becomes a proper object of experience. How that question was finally defined as one of relevance is the story of Apropos of Nothing. Relevance, Tamarkin shows, was primarily an Anglo-American concept. It engaged major intellectual figures, centrally the pragmatists-William James, Alain Locke, and John Dewey-and before them thinkers including Emerson and Alfred North Whitehead. Most of all, relevance was a problem for the worlds of art, literature, education, and criticism. These were fascinated by how old, boring, distant, or unfamiliar things get taken in; how they are admitted as meaningful; how they come home to us like the ludicrous raven comes to Edgar Allan Poe's student in the middle of the night in some obscure connection with himself. Many nineteenth-century American artists saw their paintings as pragmatic works that make relevance-that suggest versions of events that feel apropos of our world the moment we see them. (Tamarkin's book is richly illustrated, in color, with works by Winslow Homer, Abbott Handerson Thayer, Edgar Degas, and others.) Relevance remains a conundrum, especially for the humanities. It obliges us to say why we admit Poe's poem-or, say, a line of Emerson's-is interesting enough to study it, to dedicate ourselves to understanding it, to affirming that this effort is, in Emerson's words, "relevant to me and mine, to nature, and the hour that now passes.". (shrink)

This original and provocative study tells the story of American literary history from the perspective of its environmental context. Weaving together close readings of early American texts with ecological histories of tobacco, potatoes, apples and honey bees, Michael Ziser presents a method for literary criticism that explodes the conceptual distinction between the civilized and natural world. Beginning with the English exploration of Virginia in the sixteenth century, Ziser argues that the settlement of the 'New World' - (...) and the cultivation and exploitation of its bounty - dramatically altered how writers used language to describe the phenomena they encountered on the frontier. Examining the work of Harriot, Grainger, Cooper, Thoreau and others, Ziser reveals how these authors, whether consciously or not, transcribed the vibrant ecology of North America, and the ways that the environment helped codify a uniquely American literary aesthetic of lasting importance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Black Deconstruction: Russell Atkins and the Reconstruction of African-American CriticismAldon Lynn Nielsen (bio)“What does that signify?” “It don’t signify nothin’ Mr. Warner.”—Russell Atkins, MaleficiumThere are, everywhere unheard (as one might see deep in an electron microscope) rigidities violently breaking—Russell Atkins, WhicheverCritical debates about the applicability of recent literary theories to the reading of African-American writing have often been marked by curious lacunae. Despite the rapid proliferation of (...) critical texts addressing themselves to black writing, it remains the case that many critics come to black writing with methodologies and agendas already in hand, while few critics have taken upon themselves the task of rereading the critical history of African-American work in theory. This has often resulted in a sort of critical shortsightedness, with the field of black literary theory presented as a foreshortened, if now more level, playing field. While some have engaged in arguments about the question of whether or not African-American writing should be engaged by poststructuralist theorists (a question that seems to begin with the assumption that poststructuralism is a particularly white mode of mythology), the fact is that a form of deconstruction had been theorized by an African-American poet long before deconstruction had entered the American academy. That this fact is largely unknown among contemporary critics is the result of a continuing practice of not reading the theoretical work of black poets who have published outside the established circuit of the academic press. With the prominent exceptions of poets like Amiri Baraka, June Jordan, Larry Neal, and Haki Madhabuti, the critical writings of recent African-American poets have seldom been collected and circulated in any very effective way. Characteristically, Neal’s essays were gathered into a book posthumously, and Madhabuti’s have been published and distributed primarily through his own publishing house. Even Baraka’s collections have been allowed to pass out of print in most instances, only the books on music remaining readily available throughout his career. This may change for black poets who write in more mainstream modes in the near future. Now that Rita Dove has served a term as Poet Laureate of the United States and Derek Walcott has won the Nobel Prize, we might expect a modest increase in interest by publishers and readers in critical works by poets whose forms are less troubling than their content. And black poets who attain academic credentials and write scholarly/critical essays, such as Nathaniel Mackey and Harryette Mullen, may succeed in getting their works published by the university presses. However, surveys of shelves in bookstores and [End Page 86] libraries will confirm that there has been little concern among even university and small presses to collect and preserve the critical legacy of black experimentalists in the way that the essays of Charles Olson, Ed Dorn, or Robert Creeley have been maintained before a public.Russell Atkins has been one of the most prolific and demanding of black poets writing criticism and theory in the last four decades, but like Percy Johnston, central figure of the Dasein group of poets centered at Howard University in the 1950s, he has had to publish most of this work through his own magazine and workshop press, and there has never been a published collection of his critical work. The special Russell Atkins number of the Free Lance, a journal with which Atkins was associated for two decades, included a section surveying his work in critical prose, but little of that work has found its way into the broader critical discourse of literary scholars (it has fared a little better with musicologists), and Atkins’s prose is infrequently cited. As eccentric as Atkins’s prose can sometimes be, these works are important early signs of a break with the “rigidities” of traditional humanist discourse among African-American writers. Atkins’s statements on music, literature, politics, and education parallel the works by Baraka leading into and out of the Black Arts Movement, but Atkins, as he does in his verse, travels an independent and often disturbing path.Speaking of Anthony Braxton’s experimentalism, Ronald Radano observes that it “emerged from the changing landscape of urban American life, from... (shrink)

This book is designed to appeal both to those interested in Roman poetry and to specialists in ancient philosophy. In it David Sedley explores Lucretius ' complex relationship with Greek culture, in particular with Empedocles, whose poetry was the model for his own, with Epicurus, the source of his philosophical inspiration, and with the Greek language itself. He includes a detailed reconstruction of Epicurus' great treatise On Nature, and seeks to show how Lucretius worked with this as his sole philosophical (...) source, but gradually emancipated himself from its structure, transforming its raw contents into something radically new. By pursuing these themes, the book uncovers many unrecognised aspects of Lucretius ' methods and achievements as a poetic craftsman. (shrink)

The Moral Economies of American Authorship argues that the moral character of authors became a kind of literary property within mid-nineteenth-century America's expanding print marketplace, shaping the construction, promotion, and reception of texts as well as of literary reputations.

This book considers the significance of this confluence through an examination of myths in the writings of H. G. Wells, Arthur C. Clarke, Philip K. Dick and Frank Herbert. Presenting fresh insights into their works, the author brings to light the tendency of science fiction narratives to reaffirm spiritual myths.

Paperback. This volume contains a collection of papers on the philosophical and cultural background of Lucretius' De rerum natura. The authors, an international team of specialists, address such general questions as how Lucretius' poem relates to the Epicurean tradition, to other philosophical schools and to contemporary Roman intellectual life. In addition, a number of case studies are presented which discuss the background of particular passages in Lucretius' poem. The book will be of interest to students and scholars in the areas (...) of ancient philosophy, Latin literature and Roman culture. (shrink)

Tuttleton assesses the influence and accomplishments of literary radicalism in the twenties and investigates the treatment of women in the American novel between the two world wars.