Search results for ""author laura s. brown""

In eighteenth-century England, the encounter between humans and other animals took a singular turn with the discovery of the great apes and the rise of bourgeois pet keeping. These historical changes created a new cultural and intellectual context for the understanding and representation of animal-kind, and the nonhuman animal has thus played a significant role in imaginative literature from that period to the present day. In Homeless Dogs and Melancholy Apes, Laura Brown shows how the literary works of the eighteenth century use animal-kind to bring abstract philosophical, ontological, and metaphysical questions into the realm of everyday experience, affording a uniquely flexible perspective on difference, hierarchy, intimacy, diversity, and transcendence. Writers of this first age of the rise of the animal in the modern literary imagination used their nonhuman characters—from the lapdogs of Alexander Pope and his contemporaries to the ill-mannered monkey of Frances Burney's Evelina or the ape-like Yahoos of Jonathan Swift—to explore questions of human identity and self-definition, human love and the experience of intimacy, and human diversity and the boundaries of convention. Later literary works continued to use imaginary animals to question human conventions of form and thought. Brown pursues this engagement with animal-kind into the nineteenth century—through works by Mary Shelley, Charles Dickens, and Elizabeth Barrett Browning—and into the twentieth, with a concluding account of Paul Auster's dog-novel, Timbuktu. Auster's work suggests that—today as in the eighteenth century—imagining other animals opens up a potential for dissonance that creates distinctive opportunities for human creativity.

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In this second edition of her popular book, Laura S. Brown reviews the history, theory, empirical basis, and practice of feminist therapy, a groundbreaking approach that not only listens to, but privileges, the voices and experiences of those who have been defined as "other" by dominant cultures. Feminist therapy has evolved significantly from its early days. Originally it functioned primarily as a corrective against the sexist approaches of the era, whereas now it has become a sophisticated, postmodern, technically integrative model of practice that uses the analysis of gender, social location, and power as a primary strategy for comprehending human difficulties. Feminist therapy is no longer just for women—it has grown to encompass work with women, men, children, families, and larger systems. New to this edition is an updated discussion of the sociopolitical environment for women and other marginalized groups, updated research, and more inclusive terminology and discussion of transgender and nonbinary individuals.

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In this bold and provocative book, Laura Brown explores the representation of women in English literature from the Restoration to the fall of Walpole—a time during which an expansionist economic system was consolidated, a fertile ideology advocating a benevolent and progressive imperialism took root, and the slave trade was institutionalized. In this period, she maintains, the image of the female not only played a leading role in literary culture but also profoundly affected mercantile capitalist ideology. After critical scrutiny of the traditional and revisionist positions in previous approaches to eighteenth-century studies, Brown examines the "feminization of ideology" in relation to notions of racial difference in Benn's Oroonoko and in works by Defoe and Swift. Chapters on the "she-tragedy" and on the writings of Pope focus on images of female sexuality and their relationship to violence against women, to female dressing and identity, and to contemporary notions of aesthetics, as well as to capitalism, commodification, and imperialism. Redefining issues central to the interpretation of eighteenth-century literature, Ends of Empire will be important reading for students and scholars in the fields of eighteenth-century studies, literary theory and literary history, women's studies, Marxist criticism, and cultural and intellectual history.

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The Counterhuman Imaginary proposes that alongside the historical, social, and institutional structures of human reality that seem to be the sole subject of the literary text, an other-than-human world is everywhere in evidence. Laura Brown finds that within eighteenth-century British literature, the human cultural imaginary can be seen, equally, as a counterhuman imaginary—an alternative realm whose scope and terms exceed human understanding or order. Through close readings of works by Daniel Defoe, Jonathan Swift, and Alexander Pope, along with lapdog lyrics, circulation narratives that give agency to inanimate objects like coins and carriages, and poetry about the Lisbon earthquake of 1755, Brown traces the ways presence and power of the nonhuman—weather, natural disasters, animals, even the concept of love—not only influence human creativity, subjectivity, and history but are inseparable from them. Traversing literary theory, animal studies, new materialism, ecocriticism, and affect theory, The Counterhuman Imaginary offers an original repudiation of the centrality of the human to advance an integrative new methodology for reading chaos, fluidity, force, and impossibility in literary culture.

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The Counterhuman Imaginary proposes that alongside the historical, social, and institutional structures of human reality that seem to be the sole subject of the literary text, an other-than-human world is everywhere in evidence. Laura Brown finds that within eighteenth-century British literature, the human cultural imaginary can be seen, equally, as a counterhuman imaginary—an alternative realm whose scope and terms exceed human understanding or order. Through close readings of works by Daniel Defoe, Jonathan Swift, and Alexander Pope, along with lapdog lyrics, circulation narratives that give agency to inanimate objects like coins and carriages, and poetry about the Lisbon earthquake of 1755, Brown traces the ways presence and power of the nonhuman—weather, natural disasters, animals, even the concept of love—not only influence human creativity, subjectivity, and history but are inseparable from them. Traversing literary theory, animal studies, new materialism, ecocriticism, and affect theory, The Counterhuman Imaginary offers an original repudiation of the centrality of the human to advance an integrative new methodology for reading chaos, fluidity, force, and impossibility in literary culture.

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