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Authenticity and Identity in American Literature and Culture
Fakery, authenticity, and identity in American literature and culture at the turn of the 20th century
Focusing on texts written between 1880 and 1930, Mary McAleer Balkun explores the concept of the “counterfeit,” both in terms of material goods and invented identities, and the ways that the acquisition of objects came to define individuals in American culture and literature. Counterfeiting is, in one sense, about the creation of something that appears authentic—an invented self, a museum display, a forged work of art. But the counterfeit can also be a means by which the authentic is measured, thereby creating our conception of the true or real.
An Annotated Edition
The Poetry of Mourning from the Puritans to Whitman
Economy and Environment in American Literature, 1580-1864
In classical terms the georgic celebrates the working landscape, cultivated to become fruitful and prosperous, in contrast to the idealized or fanciful landscapes of the pastoral. Arguing that economic considerations must become central to any understanding of the human community's engagement with the natural environment, Timothy Sweet identifies a distinct literary mode he calls the American georgic.
Offering a fresh approach to ecocritical and environmentally-oriented literary studies, Sweet traces the history of the American georgic from its origins in late sixteenth-century English literature promoting the colonization of the Americas through the mid-nineteenth century, ending with George Perkins Marsh's Man and Nature (1864), the foundational text in the conservationist movement.
New Interventions in a National Narrative
In The American H.D., Annette Debo considers the significance of nation in the artistic vision and life of the modernist writer Hilda Doolittle. Her versatile career stretching from 1906 to 1961, H.D. was a major American writer who spent her adult life abroad; a poet and translator who also wrote experimental novels, short stories, essays, reviews, and a children’s book; a white writer with ties to the Harlem Renaissance; an intellectual who collaborated on avant-garde films and film criticism; and an upper-middle-class woman who refused to follow gender conventions. Her wide-ranging career thus embodies an expansive narrative about the relationship of modernism to the United States and the nuances of the American nation from the Gilded Age to the Cold War.
The Problem of Poverty in U.S. Literature, 1840-1945
Social anxiety about poverty surfaces with startling frequency in American literature. Yet, as Gavin Jones argues, poverty has been denied its due as a critical and ideological framework in its own right, despite recent interest in representations of the lower classes and the marginalized. These insights lay the groundwork for American Hungers, in which Jones uncovers a complex and controversial discourse on the poor that stretches from the antebellum era through the Depression.
Reading writers such as Herman Melville, Theodore Dreiser, Edith Wharton, James Agee, and Richard Wright in their historical contexts, Jones explores why they succeeded where literary critics have fallen short. These authors acknowledged a poverty that was as aesthetically and culturally significant as it was socially and materially real. They confronted the ideological dilemmas of approaching poverty while giving language to the marginalized poor--the beggars, tramps, sharecroppers, and factory workers who form a persistent segment of American society. Far from peripheral, poverty emerges at the center of national debates about social justice, citizenship, and minority identity. And literature becomes a crucial tool to understand an economic and cultural condition that is at once urgent and elusive because it cuts across the categories of race, gender, and class by which we conventionally understand social difference.
Combining social theory with literary analysis, American Hungers masterfully brings poverty into the mainstream critical idiom.
Gender, Mass Culture, and Form
National Geographic, Global Culture, and the Visual Imagination
Tracing the National Geographic's rise to prominence during the first half of the 20th c., Stephanie Hawkins argues that far from being merely a handbook of Western imperialism or a venue for exotic display, the magazine created a forum for the negotiation of changing attitudes toward national identity, cultural diversity, and global interconnectedness. Its readers responded in complex ways to the magazine's iconic public image and were not at all the passive spectators they have been assumed to be.