Search results for ""bucknell university press""

This book examines how sexual politics, specifically those surrounding the modernization of a consumer economy, are key to understanding the transformation of Spain from isolated dictatorship to modern state. It focuses on issues concerning modernity and the commodification of the female body under the dictatorship of Francisco Franco in the 1950s and 1960s. These two decades are critical to understanding this transformation because they coincide with the opening of markets, the freer movement of people in and out of the country through tourism and emigration, and the embracing of the 'American way of life' popularized in Hollywood movies. From a gender perspective this 'in between moment,' in Homi Bhaba's terms, from autarchy to consumerism favored the transition from the virginal female model, prescribed by the regime, (what the author calls 'True Catholic Womanhood') to a seductive modern woman that the media sold to Spanish women. The originality of this study resides in Dr. Morcillo's use of feminist theories of the body to study archival sources of the Francoist years.

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During the long eighteenth century, Britain won and lost an empire in North America while consolidating its hegemony on the Indian subcontinent. The idea of imperial Britain became an essential piece of national self-definition, so that to be British was to be a citizen of an imperial power. The British literary imagination inevitably participated in the formulation and interrogation of this new national character, examining in fiction empire's effects on the world at home. Imperial Characters traces a range of literary articulations of how British national character is formed, changed, and distorted by the imperial project. Tara Wallace argues that each text she considers, from Aphra Behn's early description of seventeenth-century colonists in Surinam to Robert Louis Stevenson's historical narrative about eighteenth-century Scotsmen roaming the globe, enacts the opportunities, disruptions, and dangers of imperial adventurism. Through close readings of works by Behn, Pope, Thomson, Defoe, Smollett, Bage, Hamilton, Scott, and Stevenson, contextualized within historical moments, Wallace persuasively shows how literary texts rehearse the risks incurred in the course of imperial expansion, not only to British lives but also to cherished national values.

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Early Augustan Virgil prints for the first time in its entirety the substantial version of Virgil comprising most of Aeneid II-VI by the young royalist poet Sir John Denham in the 1630s. Denham's later published versions, The Destruction of Troy of 1656 and The Passion of Dido for Aeneas printed in his Poems and Translations of 1668, are also included for comparative purposes, alongside the couplet version of Aeneid IV by Sidney Godolphin and Edmund Waller published in 1659 with the title later used by Denham, The Passion of Dido for Aeneas. Critical introductions establish the interrelation of these versions and the pioneering status of the poets as practitioners of the Augustan style later perfected by Dryden and Pope. Early Augustan Virgil makes accessible a substantial text by a pioneer in couplet writing and in the theory and practice of translation, vindicating Pope's distinction when he enjoins his reader to 'praise the easy vigor of a line, / Where Denham's strength and Waller's sweetness join.' The volume thus puts Denham's version of Virgil sympathetically into a context where it can be seen to make an important contribution to the development of the English Augustan style, thus making a case for the formative influence of classic translation upon the development of English poetry. It also makes a contribution to the reception of Virgil and will be of interest to readers of classical and English poetry alike.

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Recent research on the Soviet period of Russian literary history has eliminated many gaps in our understanding of that complex era. With few exceptions, however, little critical attention has been directed to the most important of all Soviet genres: the production novel, or proizvodstvennyi roman. Such neglect is particularly true of production novels written in the transitional era between the late 1920s and the early 1930s. Such works provide an essential but still misunderstood clue to the Stalinist era and the formation of Soviet culture. Based on contemporary theory and new archival research, Writers at Work re-assesses the production novel and re-interprets its importance in the development of Stalinism. The author uses both well-known and long-forgotten examples of the production novel to explore the essential role this unique genre played in the construction of Soviet culture.

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Inexorable Yankeehood analyzes the clash between Henry James and American journalism during his 1904-5 tour. Drawing on the contemporary press and supplemented by a neglected visual archive, it charts James's progress as he gathers the impressions for his "theory of America." As James comes before the public, his critique unfolds in a rising arc. Press response follows its own trajectory, divided between reviling the messenger and considering the justice of his message. At the apex of his critique, James's "alphabet of impressions" anticipates the charges of the era's radical journalists. Although many scholars explore James's critique of America and his attitudes to journalism as revealed in fiction, none analyzes the clash between James and the press during his visit. This book redresses that omission, en route to supplying a missing chapter in American cultural history.

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Proust Outdoors will surprise anyone familiar with Marcel Proust, a writer associated with the cork-lined bedroom, the aristocratic salon, the interiority of memory, and, more recently, the figurative closet. The narrator uses figures of interior space to express literature's ability to recapture the past. However, his depictions of great works and other characters' theories convey art's power to open new horizons of meaning in vast, wild spaces such as alpine wilderness, the eastern steppe, or stormy seas. This study focuses on the aesthetic stakes of these conflicting spaces. Moving between close rhetorical readings of passages where the opposing aesthetics are grafted together and general considerations of the book's overarching structure and critical reception, a Proust emerges whose postmodern exploration of the explosive signifier challenges the predominant reading of the novel as a high modernist celebration of artistic mastery.

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This is a collection of nine original essays selected and edited with a twofold aim: to establish the parameters of coquetry as it was defined and represented in the long eighteenth century, and to reconsider this traditional figure in light of recent work in cultural and gender studies. The essays provide analyses of lesser-known works, examine the depiction of the coquette in popular culture, explore the importance of coquetry as a contemporary term applicable to men as well as women, and amplify current theorization of the coquette. By bringing together the diverse contexts and genres in which the figure of the coquette is articulated - drama, art, fiction, life-writing - Refiguring the Coquette offers alternative perspectives on this central figure in eighteenth-century culture.

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This book analyzes the narrative and rhetorical structures of Latin American colonial texts by establishing a dialogue with contemporary studies on minority discourse, minor literatures, and colonial and postcolonial theory. The first chapter reviews the current disciplinary debate between colonial Latin American studies and early modern, transatlantic, and postcolonial studies, paying attention to the epistemic and institutional junctures that explain the current reconfiguration of these fields of scholarship. As an alternative to an exhausted debate, this study uses Gilles Deleuze and Felix Guattari's notion of a 'minor literature' along with current studies on minority discourse to propose new close readings of canonical texts by Hernán Cortés, Alvar Núñez Cabeza de Vaca, the Inca Garcilasco de la Vega, Carlos de Sigüenza y Góngora and Sor Juana Inés de la Cruz.

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The End of the World as They Knew It maps the shifting constructions of the space of the South in Argentine discourses of identity, nation, and self-fashioning. In works by Domingo F. Sarmiento, Lucio V. Mansilla, Francisco P. Moreno, Jorge Luis Borges, Ricardo Piglia, and César Aira, Eva-Lynn Alicia Jagoe examines how representations of the South - as primitive, empty, violent, or a place of potential - inform Argentine liberal ideology. Part of this process entails the reception of travel narratives by Francis Bond Head, Charles Darwin, and W.H. Hudson, which served the purpose of ratifying the gaze of the crioloo , and of appropriating the South through civilized discourses. Focusing on crucial moments in Argentine cultural history, such as the 1871 Conquest of the Desert and the military dictatorship of the 1970s, Jagoe compellingly argues that these intensely experiential narrations of the South are inextricably linked to questions of collective memory and the construction of an Argentine history and tradition.

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Plot Twists and Critical Turns provides a reconsideration of a variety of works of seventeenth-century Spanish theater, both standards and those that are less well-known, from perspectives grounded in recent work in queer studies. Basing his readings on the ideas of such gender theorists as Judith Butlre, Eve Kosofsky Sedgwick, and Leo Bersani, Stroud advances the recent trend against closure in comedia criticism by showing that early modern Spanish theater, even given the limitations placed upon it by censorship, public tastes, and its own conventional precepts, is shot through with gaps and spaces that allow one to perceive at least the outlines of an absent queer object, if not overt examples of manifest challenges to gender conformity in Lope's La Hermosa Ester, Vèlez de Guevara's La serrana de la Vera, Moreto's El lindo don Diego, Cervantes's two Algerian plays, and Calderón's Las manos blancas no ofenden and El principe constante.

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This anthology is an interdisciplinary collection of essays that builds on the presentations from a conference held at Bucknell University that addressed the issue of the persistence of race in the new millennium. These essays all deal with various critical dimensions of race from a sociological, anthropological, and literary perspective. The essays engage with history, either textually, materially, or with respect to identity, in an effort to demonstrate that these discourses about race are still relevant and still central to everyday experiences. The chapters are mainly about U.S. race relations but in some cases the analysis extends beyond national boundaries. The volume disabuses any notion of color blindness and affirms the position that race still matters in America and beyond. Contributors: Linden Lewis, Glyne Griffith, Isabell Cserno, Uta Kresse Raina, Lan Dong, Carmen Gillespie, Sarah Daynes, Norlisha F. Crawford,Theda Wrede, Andrea O'Reilly Herrera.

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Macedonio Fernández (Argentinian, 1874 - 1952) is a critical figure in modern Latin American literature, mentor to Borges and precursor to the avant-garde. The Self of the City shows Macedonio's work to be a systematic effort to "save the city" from a modernity based on the fallacy of Descartes' autonomous self. Garth dismantles the myth of Macedonio, exposing Borges's role in creating it. Comparing Macedonio's work to that of the avant-garde, he reveals how Macedonio critiques the avant-garde's continued reliance on the self. Garth examines important social and political realities in early twentieth-century Buenos Aires along with current theories on these phenomena. He concludes that Macedonio's opus rejects the modern city as paradoxical and untenable, detrimental to the sentient individual, and in need of salvation by means of a radical new poetics.

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Test Tube Envy: Science and Power in Argentine Narrative examines the strategies by which narrative shapes scientific discourse and through which popular science determines narrative form over 150 years of the country's writing. Beginning with Domingo Sarmiento and Argentina's Generation of 1837 and continuing through authors such as Lucio Mansilla, Roberto Arlt, Jorge Luis Borges, Julio Cortázar and others, Test Tube Envy explores the construction and exercise of social power on and through scientific expression. The book examines this dynamic in relation to scientific disciplines that range from nineteenth-century phrenology and ethnography to twentieth-century quantum mechanics, cybernetics, and chaos theory. Brown argues that, while the twentieth century introduces a series of complexities to the relationship between science and literature, surprising continuities endure that allow us to understand more fully the literary genealogy of many of Argentina's writers, while also appreciating new levels of their innovations.

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Sacred Eroticism: Georges Bataille and Pierre Klossowski in the Latin American Erotic Novel addresses a neglected chapter in the field of Latin American literature: the influence of Georges Bataille and Pierre Klossowski's atheist mysticism in the Latin American erotic novel of the twentieth century. Combining a Lacanian analytical framework with an (inter)textual approach, Juan Carlos Ubilluz reveals how Julio Cort&3225;zar, Salvador Elizondo, Mario Vargas Llosa, and Juan García Ponce adopted Bataille and Klossowski's aesthetic and philosophical models as a point of departure to rearticulate the modern subject's buried dimension of the sacred through various innovations on the erotic novel's form. Ubilluz also examines the dialectical irruption of these literary experiments into their particular aesthetic, theoretical, and political contexts; showing, for instance, that Cortázar's Rayuela and Elizondo's Farabeuf reintroduce a Bataillean sense of tragedy into the secularist nouveau roman, that Garía Ponce exemplifies the Barthian death of the Author by 'copying' with originality the form and content of Klossowski's novels, and that Vargas Llosa's Los cuadernos de don Rigoberto gives an unbecoming neo-liberal spin to Bataille and Klossowski's anti-capitalist theorization of the sacred.

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This book is an examination of the use of the family album in contemporary Spanish culture. Through the analysis of films, narratives, painting, and a photographic exhibition produced from the end of Franco's dictatorship to the present, Kim interrogates how the family album serves as a critical instrument to reflect on the treatment of the past in contemporary Spain, the recuperation of repressed identities, nostalgia for collective memory symptomatic of the cultural discontent with the erosion of a national boundary due to globalization and the increasing claim of diversity, and ethical concerns for immigration. This study explores a broad range of works by canonical as well as less studied writers and artists, including Juan Goytisolo, Carlos Saura, and Marta Balletbò-Coll.

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This book consists largely of previously untranslated work. Kuzmin was a master of many genres: poet, dramatist, writer of narrative prose, and influential literary manifestos. All these facets of Kuzmin's creativity are represented in this volume, which traces his development from a "decadent" to a key figure of Russia's artistic underground during the repression of the Soviet period. A cycle of poems, "Thrall" (1919), published here for the first time in English, provides the book with its dominant theme. "Thrall" is a leitmotif of Kuzmin's early love poetry, where it signifies a lover's impassioned submission. Kuzmin the playwright is represented here by his only full-length drama, The Death of Nero (1929); Kuzmin the prose writer by two short stories that exemplify contrasting periods of his evolution. The collection also contains two literary manifestos that played pivotal roles in the development of Russian letters.

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This book chronicles three decades of social and political disintegration in a nation marked by violence, paradox, and hyperbole, a country both blessed and cursed by its wealth of natural resources, its culture, and its strategic location in the western hemisphere. The translated plays (Soldiers [C. J. Reyes et al.]; Old Baldy [Jairo Niño]; Lucky Strike [Santiago García]; Roadhouse [Teatro La Candelaria]; Pilot Project [Enrique Buenaventura]; Femina Ludens [Nohora Ayala et al.]; and The Orgy [Enrique Buenaventura]) reveal the historical, economic, and social roots of Colombia's tragic circumstances. They are vehicles of critical analysis for making sense of both the causes and the consequences of the violence, as they examine the role of the army, the roots of the drug wars, the situation of women and victims of conflict, and the poisoning of a common ethos. The translations and introductory notes make the works and their subjects equally accessible for staging in the theater and for readings and discussion by groups interested in Latin American Studies. María Mercedes Jaramillo provides an introductory essay, "Colombian Theatre."

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In a study that sweeps from Classical Antiquity to the seventeenth century, Robert D. Huerta explores the common intellectual threads that link the art of Johannes Vermeer to the philosophy of Plato. Examining the work of luminaries such as Plotinus, Nicholas of Cusa, St. Augustine, Ficino, Raphael, Keller, Galileo, Descartes, and Hoydens, Huerta argues that the concurrence of idealism and naturalism in Vermeer's art reflects the Dutch master's assimilation of Platonic and classical ideals, concepts that were part of the Renaissance revival of classical thought. Pursuing a Platonic path, Vermeer used his paintings as a visual dialectic, as part of his program to create a physical instantiation of the Ideal. This book is the result of years of reflection on the creative commonalities to be found in signal art and pioneering scientific discoveries.

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Gathering together classic and new essays by the internationally renowned U.S.-based Filipino artist and thinker E. San Juan Jr., Working through the Contradictions addresses major issues of cultural theory, comparative politics, and international relations. Committed to the ideal of a popular, egalitarian democracy, San Juan exposes the limits of the current vogue of transnationalism, cosmopolitan humanitarianism, and varieties of dissentious multiculturalism. Opposing the triumphalist discourse of U.S.-centered globalization, San Juan reaffirms the value and power of a historical materialist critique of the "new world order." Connecting the theoretical debates in American Studies to the recent U.S. intervention in the Philippines against the Abu Sayyaf guerillas, Spinoza's philosophy to current racism against Asian Americans, European surealism to Caribbean history, San Juan's dialectical method illuminates the contradictions of thought and practice that open up opportunities for social transformation and spiritual renewal. Working through the Contradictions is an uncompromising critique of late capitalist society and its ideology of transnationalism, hybridity, and border-crossing pluralism. Post-September 11 white supremacist racism becomes the actuality that proves how moralizing neoliberal and borderless paradigms can no longer elide the inescapable contradictions at the heart of a market-based society. What is needed is to work through these contradictions until a site or space emerges for a new social order of justice and equality.

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The Catastrophe of Modernity examines four very different Latin American writers in the context of their respective national traditions. In a series of sophisticated and challenging theoretical readings of texts by Jorge Luis Borges, Juan Rulfo, César Vallejo, and Ricardo Piglia, Patrick Dove persuasively argues that the idea of tragedy offers new ways of understanding the relation between literature and the modern Latin American nation-state. Powerfully argued, The Catastrophe of Modernity brings together Latin American texts with important contemporary concepts in philosophical and theoretical criticism, enabling those concepts in relation to tragedy to emerge from Dove's discussion with greater clarity and renewed interest.

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Mercè Rodoreda (1908-1983) as a modernist writer. This study addresses the relationship of RodoredaOs production with Catalan, Spanish, and European modernism.

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In the seventeen dramatic texts examined in this study, women writers from Spanish America have self-consciously incorporated games into their plays’ structures to highlight from a woman’s perspective the idea that life, as well as the theater, is a game.

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Being in Common analyzes key works of twentieth-century Latin American literature and culture as precursors of contemporary theories of globalization. In a richly researched and wide-ranging account, Silvia Rosman studies how texts from the 1940s and '50s by major Latin American authors, such as Alejo Carpentier, Ezequiel Martínez Estrada, Octavio Paz, and Jorge Luis Borges, provide alternatives to traditional forms of national, linguistic, or geographical belonging and thus allow us to think the commonality of experience differently. These texts offer articulations of community that challenge the totalizing and often violent homogeneity of identity or difference, the priority of the Subject and the location of culture. Rosman persuasively demonstrates how they explore ways of being in common—the communal relation—when the notion of a common being—a totalized conception of community—is shown to be untenable. In doing so she incorporates and looks beyond her predecessors' theoretical resources to urgent contemporary preoccupations with how to imagine identity in a "post-national" moment.

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Postmodern Paletos traces a history of the representation and construction of the figure of the immigrant and of the city/country dynamic in Spanish narrative and film from 1950 to 2000. It concentrates in particular on Franco’s uses of these images to promote his politics and then on the deconstruction of these uses.

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Focusing on La destrucción o el amor (1935), this study explores Aleixandre’s surrealist masterwork from an intertextual perspective inspired by the theories of Harold Bloom, Michael Riffaterre, Gérard Genette, and others. Among the cultural and literary intertexts considered are surrealism and the seminal role of Freud, metaphor, genre, narrative technique, and ancestor poets. An intertextual tack is instrumental in perceiving logic behind Aleixandre’s surrealism, an irrational-appearing poetry widely taken as privately produced and self-contained. Key to the poetic logic of Aleixandre’s surrealism, the intertextual horizon throws light on Aleixandre’s place in his own generation and in literary history.

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Much has been written about the Norse influence on British Romantic and Victorian literature, but little has been said about the corresponding American movement. This work aims at filling this surprising lacuna.

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A dozen distinguished Hispanists examine the subject in a variety of fresh ways and from unexpected angles. The studies invoke autobiography and film as well as fiction and confront issues of genre and gender. The first of its kind in the Hispanic arena, this book proves that every literary text is by definition an amalgam of intertextual plays and ploys and that intertextuality itself is as inexhaustible as its applications.

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The Text in Play interrogates theatrical creativity by focusing on how twentieth-century playwrights have incorporated scenes of rehearsal into their dramatic texts. Contemporary theoretical perspectives, principally from Brecht, Bahktin, and Barthes, are used to analyze a series of avant-garde plays whose dramatization of the messiness and flux of rehearsal creativity serves to destabilize yet also invigorate their theatrical potentials.

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This work reexamines the Victorian spiritual crisis from the perspective of the period's women writers, exploring the spiritual dimension in their writings. Case studies of the lives and writings of Florence Nightingale, Charlotte Bronte, Elizabeth Gaskell, and George Eliot provide an in-depth analysis of the relationship between these crises and narrative strategies that reappropriate the conservative power associated with religious symbolism.

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Reforming Marlowe seeks to analyze Marlow’s reception in the nineteenth century in order to trace critical interpretations from their specific social, economic, and political origins.

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His novels were published in Europe, and North and South America, and until this book, no study has been made to trace the path of his influence as a novelist in the international arena.

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Twenty-five international biblical scholars and literary theorists apply the methods of literary criticism, semantics, social criticism, theology, narratology, and gender studies to the Hebrew Bible and the New Testament. New connections between Judaism and Christianity are suggested.

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Pagodas in Play examines the representation of China in nine Italian operas of the eighteenth century. It focuses specifically on libretti, analyzing them as texts produced in a variety of interpenetrating cultural contexts: the general European fascination with the Middle Kingdom; developments in Italian literary, theatrical, and operatic realms; Enlightenment ideologies; and the heterogeneity of the Italian states. With exemplary scholarship Adrienne Ward explores how Italians appropriated prevailing notions about the Celestial Empire and used them productively in a form of entertainment widely comprehensible in eighteenth-century Europe. The Chinese characters, places, objects, and ideas staged in Italian heroic operas (opera serie) and comic operas (opera buffe) provide a rich picture of how such authors as Pietro Metastasio, Apostolo Zeno, Carlo Goldoni, Giambattista Lorenzi, and Domenico Lalli conceived of the Celestial Empire. Furthermore, the texts and performance practices tell a detailed story about China's versatile role in how Italians addressed local and transnational developments. Ward demonstrates how the fertile exploitation of perceptions of China in Settecento Italian opera challenges the idea that only in the twentieth century has Orientalism shifted from a geographical paradigm to one in which essentialist characteristics are deterritorialized and manipulated in the interests of competing new world elites. Indeed, discrete conceptualizations of Chineseness were mobilized for local purposes, far removed from questions of actual East vs. West, and from nationalist and/or colonialist projects. Pagodas in Play will appeal to students and scholars of the Enlightenment, Orientalism, Italian Studies, and Opera Studies, as well as to historians of European sinology, who will be afforded a fascinating view onto a "stage" until now unrevealed.

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The Idea of Disability in the Eighteenth Century explores disabled people who lived in the eighteenth century. The first four essays consider philosophical writing dating between 1663 and 1788, when the understanding of disability altered dramatically. We begin with Margaret Cavendish, whose natural philosophy rejected ideas of superiority or inferiority between individuals based upon physical or mental difference. We then move to John Locke, the founder of empiricism in 1680, who believed that the basis of knowledge was observability, but who, faced with the lack of anything to observe, broke his own epistemological rules in his explanation of mental illness. Understanding the problems that empiricism set up, Anthony Ashley Cooper, Lord Shaftesbury, turned in 1711 to moral philosophy, but also founded his philosophy on a flaw. He believed in the harmony of “the aesthetic trinity of beauty, truth, and virtue” but he could not believe that a disabled friend, whom he knew to have been moral before his physical alteration, could change inside. Lastly, we explore Thomas Reid who in 1788 returned to the body as the ground of philosophical enquiry and saw the body as a whole—complete in itself and wanting nothing, be it missing a sense (Reid was deaf) or a physical or mental capacity. At the heart of the study of any historical artifact is the question of where to look for evidence, and when looking for evidence of disability, we have largely to rely upon texts. However, texts come in many forms, and the next two essays explore three types—the novel, the periodical and the pamphlet—which pour out their ideas of disability in different ways. Evidence of disabled people in the eighteenth century is sparse, and the lives the more evanescent. The last four essays bring to light little known disabled people, or people who are little known for their disability, giving various forms of biographical accounts of Susanna Harrison, Sarah Scott, Priscilla Poynton and Thomas Gills, who are all but forgotten in the academic world as well as to public consciousness.

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Encounters, whether first or subsequent or whether cultural, economic, or ideological, mark the beginning of an acquaintance and measure both similarities and differences. What happens after an opening encounter is the topic of Citizens of the World: Adapting in the Eighteenth Century. Taking as its point of embarkation awareness of the mutuality of foreignness—of the unfamiliarity that characterizes all parties to a meeting of the minds, ways, or traditions—this exploratory volume considers the many approaches and strategies to adaptation in the Enlightenment and the long and complex process of reciprocal adjustment that created this enthusiastically outgoing era internationally. The eight essays of this volume examine four varieties of adaptation: the interdisciplinary, in which expanding realms of knowledge collide but cooperate; the transnational, in which longstanding traditions merge and hybridize; the gendered, in which personal identity and public pursuits negotiate; and the general, in which the adapting mentality energizes unprecedented efforts at ingenious recombination. Whether in cast-and-fired pottery or aboard imagined airships, adaptation, the authors in this volume demonstrate, all but defines a century in which the “all but” implies perpetual adjustment to everything else.

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Menials argues that British writers of the long-eighteenth century projected their era’s economic and social anxieties onto domestic servants. Confronting the emergence of controversial principles like self-interest, emulation, and luxury, writers from Eliza Haywood, Daniel Defoe, and Samuel Richardson to Mary Shelley, Charles Dickens, and William Thackeray used literary servants to critique what they saw as problematic economic and social practices. A cultural history of economic ideology as well as a literary history of domestic service, Menials traces the role of the domestic servant as a representation of the relationship between the master’s ideal self and the cultural forces that threaten it.

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Brown Romantics: Poetry and Nationalism in the Global Nineteenth Century proceeds from the conviction that it is high time for the academy in general and scholars of European Romanticism to acknowledge the extensive international impact of Romantic poetry. Chander demonstrates the importance of Romantic notions of authorship to such poets as Henry Derozio (India), Egbert Martin (Guyana), and Henry Lawson (Australia), using the work of these poets, each prominent in the national cultural of his own country, to explain the crucial role that the Romantic myth of the poet qua legislator plays in the development of nationalist movements across the globe. The first study of its kind, Brown Romantics examines how each of these authors develop poetic means of negotiating such key issues as colonialism, immigration, race, and ethnicity.

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A stylish critique of literary attitudes towards painting, Textual Vision explores the simultaneous rhetorical formation and empirical fragmentation of visual reading in enlightenment Britain. Beginning with an engaging treatment of Pope's Rape of the Lock, Timothy Erwin takes the reader on a guided tour of the pointed allusion, apt illustration, or the subtle appeal to the mind's eye within a wide array of genres and texts, before bringing his linked case studies to a surprising close with the fiction of Jane Austen. At once carefully researched, theoretically informed and highly imaginative, Textual Vision situates textual vision at the cultural crossroads of ancient pictura-poesis doctrine and modernist aesthetics. It provides reliable interpretive poles for reading enlightenment imagery, offers vivid new readings of familiar works, and promises to invigorate the study of Restoration and eighteenth-century visual culture.

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Mary Delany’s phrase “the matrimonial trap” illuminates the apprehension with which genteel women of the eighteenth century viewed marriage. These women were generally required to marry in order to secure their futures, yet hindered from freely choosing a husband. They faced marriage anxiously because they lacked the power either to avoid it or to define it for themselves. For some women, the written word became a means by which to exercise the power that they otherwise lacked. Through their writing, they made the inevitable acceptable while registering their dissatisfaction with their circumstances. Rhetoric, exercised both in public and in private, allowed these women to define their identities as individuals and as wives, to lay out and test the boundaries of more egalitarian spousal relationships, and to criticize the traditional marriage system as their culture had defined it.

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As part of the Samuel Johnson tercentenary commemoration, the University of Georgia Press published the first full scholarly edition of Sir John Hawkins’s Life of Samuel Johnson, LL.D. (1787). From its inception, Hawkins’s work, arising from a close relationship with Johnson that spanned over forty-five years, challenged certain adulatory views of Johnson and has continued to raise interesting critical questions about both Johnsonian biography and the genre of biography generally. Reconsidering Biography collects new essays that explore Hawkins’s biography of Johnson within its historical, political, legal, and personal contexts. More particularly, this volume considers how Hawkins’s approach to recording the Life of Johnson opens up broader questions about early modern biography and its relationship with eighteenth-century trends in aesthetics, politics, and historiography. These sophisticated and informed essays on a curious and often vexed friendship, and its literary offspring, supply a colorful and expansive view of the role of life-writing in the eighteenth-century literary imagination.

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Radical Justice investigates the convoluted relationship between memory and justice as it is portrayed in political documentaries and detective fiction from Spain and the Southern Cone. It argues that the possibility of achieving justice in these regions lies beyond market and state and is yet to come. Rather than focusing on "high literature" Radical Justice uses popular culture as a site from which to question both the inability of the State and the transnational market to come to terms with the dictatorial past and to deliver justice. This book will interest a wide range of scholars, from national literature and film specialists of Argentina, Chile, and Spain, to philosophers and students of ethics, human rights, and questions of justice.

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This book explores the fluid boundaries between realism and romanticism, while considering this oscillation between discourses as the legacy of the Quijote to the nineteenth-century Spanish novel. Furthermore, there are studies of characters who act as authors in Benito Pérez Galdós's first series of Episodios nacionales, Pío Baroja's La lucha por la vida, and Leopoldo Alas Clarín's La Regenta. For many realists, romanticism has negative associations: quixoticism, exaggeration, impracticality, and femininity or effeminacy. The book's conclusion suggests that the external authors, who wrote these novels about quixotic author-characters' lingering romanticism, imagine themselves as Cervantes figures: they draw on the power of romanticism within their texts, but protect themselves from romanticism's 'dangerous' links to the feminine and irrationality by recalling their male mentor. This study, then, situates itself in the critical tradition that has articulated the porosity of the terms romanticism and realism - the indissoluble marriage of the Hispanic nineteenth century.

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This book re-examines the literary significance of poet and translator William Cowper (1731-1800). Too often, Cowper is pigeonholed as an eccentric, a hopeless depressive, or even as a religious lunatic. Often regarded as an 'early' Romantic, Cowper is reconsidered in this book in light of a rich eighteenth-century political and religious culture. Rather than read him as an old-fashioned Calvinist stranded in an increasingly secularized society, Cowper can be read as someone who well understood the increasingly imprecise and emotionalist quality of eighteenth-century religious discourse and who expressed this dominant tendency with uncanny insight.

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Two predominant critical assumptions about Samuel Richardson—that he is a feminist and that his novels aim to exert a straightforward didactic influence on readers—are challenged by this comparative study of female exemplarity in Clarissa, Sir Charles Grandison, Evelina, and Les Liaisons dangereuses in a theoretically and historically informed context, in order to investigate the ideologically charged terraine of models and modeling in eighteenth-century epistolary fiction. The possibility of the coherent and imitable model, both of female virtue and of stable communication, is negated by the persistence of "parasites" within the narrative exchanges that attempt to create these ideals. The female subjectivity transacted by Clarissa's text-reader relation is imagined as a site not of ethical transformation but of crippling shame and self-reproach. Koehler's readings produce a trajectory in which Burney and Laclose, writing within thirty-five years of Clarissa's publication, reject Richardson's use of female exemplarity as a weapon.

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Culture and Consciousness argues that the vast interdisciplinary boom in consciousness research has enormous implications for literary and cultural studies, and that the potential benefits of this research in the twenty-first century are momentous. Its objective is to show how consciousness studies can help us reassess our approach to key issues and the fundamental assumptions of contemporary theory and criticism. In the first half of the book, major points of contention in the humanities are explored through a perspective that accommodates the full range of mind and consciousness. Haney demonstrates that the debates in theory surrounding the questions of identity, truth and language, which have so far eluded the mind or reason, cannot be resolved without recourse to the structure of consciousness and intersubjectivity - an interaction mediated by language and resulting in mutual agreement. The remaining chapters apply the notion of intersubjectivity to the reading of specific works. A key implication of this book is that questions of literary and cultural theory concerning binaries such as presence and absence, pattern and randomness, the given and the made, the individual and the collective will continue to elude the mind as a reservoir of rational thought. Finally, Haney contends that at a certain level the duality of self and other is overcome in an experience of unity.

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In this study of Moore and the visual arts, Joyce is interested in the bifurcation between modernism and the avant-garde. Instead of viewing MooreOs poetry as typically and provincially American, the author places her in the international and radical art movements of the early twentieth century. She also shows how art productions serve to break down and re-create cultural practice, proving that culture is a mutable organism, reluctant to change. Illustrated.

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Antigone's Daughters? provides the first detailed discussion in English of six well-known Portuguese women writers, working across a wide range of genres: Florbela Espanca (1894-1930), Irene Lisboa (1892-1958), Agustina Bessa Luís, (1923- ), Natália Correia (1923-93), Hélia Correia (1949 -) and Lídia Jorge (1946 - ). Together they cover the span of the 20th century and afford historical insights into the complex gender politics of achieving institutional acceptance and validation in the Portuguese national canon at different points in the 20th century. Although a patrilinear evolutionary model visibly structures national literary history in Portugal to the present day, women writers and critics have not generally sought to replace this with a matrilinear feminist counter-history. The unifying metaphor that the authors adopt here for the purpose of discussing Portuguese women's ambivalent response to female genealogy is the classical figure of Antigone, who paradoxically sacrifices her own genealogical continuity in the name of defending family and kinship, while resisting the patriarchal pragmatics of state-building. Should women writers, faced with the absence of a female tradition, posit a woman-centred place outside the jurisdiction of male genealogy, however strategically essentialist that place may be, or should they primarily eschew fixed sexual identity to act as unnameable saboteurs, undoing the law of patriarchal tradition from within?

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