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How to Do Things with Books in Victorian Britain asks how our culture came to frown on using books for any purpose other than reading. When did the coffee-table book become an object of scorn? Why did law courts forbid witnesses to kiss the Bible? What made Victorian cartoonists mock commuters who hid behind the newspaper, ladies who matched their books' binding to their dress, and servants who reduced newspapers to fish 'n' chips wrap?
Shedding new light on novels by Thackeray, Dickens, the Brontës, Trollope, and Collins, as well as the urban sociology of Henry Mayhew, Leah Price also uncovers the lives and afterlives of anonymous religious tracts and household manuals. From knickknacks to wastepaper, books mattered to the Victorians in ways that cannot be explained by their printed content alone. And whether displayed, defaced, exchanged, or discarded, printed matter participated, and still participates, in a range of transactions that stretches far beyond reading.
Supplementing close readings with a sensitive reconstruction of how Victorians thought and felt about books, Price offers a new model for integrating literary theory with cultural history. How to Do Things with Books in Victorian Britain reshapes our understanding of the interplay between words and objects in the nineteenth century and beyond.
Conducting author interviews was not part of her plan, but one day when she was perusing a writing publication she came across an announcement about an upcoming workshop in which author interviews would be the focus. Motivated by her long-term love of fiction, her ever-expanding love of writing, and her quest for authorial knowledge, she decided to take the workshop. Initially she interviewed Paul Lisicky and Jill McCorkle, writers with whom she had already studied. After these interviews were accepted by a prestigious art magazine and literary journal, she interviewed other writers with whom she had studied: Ron Carlson and Margot Livesey. Ellis then started reaching out to authors she had never met before: Edward P. Jones, Julia Glass, Steve Almond, Amy Bloom, Chris Abani, to name a few. And the amazing thing was that the majority of authors she approached agreed to be interviewed. After she realized she had nearly enough interviews for an anthology the concept of Illuminating Fiction was born. The interviews contained in Illuminating Fiction include unique questions drawn from the text of the authors' work, questions about narrative voice, character, place, point of view, plot, revision, questions about the arc of the story/novel, questions about writing process, questions about the trajectory of the writer's career, and questions about the role and importance of writing courses and mentoring. Interviewed authors also provided their opinions of quotes about writing and creativity by other authors and artists, and they respond to questions about the challenges they face in developing their craft. The reader is thereby able to gain an intimate and specific understanding of the writer's words and craft, and what was going on in the author's mind as they created their novels, short stories, and poems.
Popular Literature of the North and South, 1861-1865
In this groundbreaking work of cultural history, Alice Fahs explores a little-known and fascinating side of the Civil War--the outpouring of popular literature inspired by the conflict. From 1861 to 1865, authors and publishers in both the North and the South produced a remarkable variety of war-related compositions, including poems, songs, children's stories, romances, novels, histories, and even humorous pieces. Fahs mines these rich but long-neglected resources to recover the diversity of the war's political and social meanings.Instead of narrowly portraying the Civil War as a clash between two great, white armies, popular literature offered a wide range of representations of the conflict and helped shape new modes of imagining the relationships of diverse individuals to the nation. Works that explored the war's devastating impact on white women's lives, for example, proclaimed the importance of their experiences on the home front, while popular writings that celebrated black manhood and heroism in the wake of emancipation helped readers begin to envision new roles for blacks in American life. Recovering a lost world of popular literature, ###The Imagined Civil War# adds immeasurably to our understanding of American life and letters at a pivotal point in our history.A groundbreaking work of cultural history in which the author explores a little-known and fascinating side of the Civil War--the outpouring of popular literature inspired by the conflict: poems, songs, children's stories, romances, novels, histories, and even humorous pieces.In this groundbreaking work of cultural history, Alice Fahs explores a little-known and fascinating side of the Civil War--the outpouring of popular literature inspired by the conflict. From 1861 to 1865, authors and publishers in both the North and the South produced a remarkable variety of war-related compositions, including poems, songs, children's stories, romances, novels, histories, and even humorous pieces. Fahs mines these rich but long-neglected resources to recover the diversity of the war's political and social meanings.Instead of narrowly portraying the Civil War as a clash between two great, white armies, popular literature offered a wide range of representations of the conflict and helped shape new modes of imagining the relationships of diverse individuals to the nation. Works that explored the war's devastating impact on white women's lives, for example, proclaimed the importance of their experiences on the home front, while popular writings that celebrated black manhood and heroism in the wake of emancipation helped readers begin to envision new roles for blacks in American life. Recovering a lost world of popular literature, ###The Imagined Civil War# adds immeasurably to our understanding of American life and letters at a pivotal point in our history.
The Institution of Literature in the Age of the Novel
This book records a major critic's three decades of thinking about the connection between literature and the conditions of people's lives-that is, politics. A preference for impurity and a search for how to analyze and explain it are guiding threads in this book as its chapters pursue the complex entanglements of culture,politics, and society from which great literature arises. At its core is the nineteenth-century novel, but it addresses a broader range of writers as well, in a textured, contoured, discontinuous history.The chapters stand out for a rare combination. They practice both an intensive close reading that does not demand unity as its goal and an attention to literature as a social institution, a source of values that are often created in its later reception rather than given at the outset. When addressing canonical writers-Shakespeare, Dickens, Twain, Keats, Melville, George Eliot, Flaubert, Baudelaire, and Ralph Ellison-the author never forgets that many of their texts, even Shakespeare's plays, were in their own time judged to be popular, commercial, minor, or even trashy. In drawing on these works as resources in politically charged arguments about value, the author pays close attention to the processes of posterity that validated these authors' greatness.Among those processes of posterity are the responses of other writers. In making their choices of style, subject, genre, and form, writers both draw from and differ from other writers of the past and of their own times. The critical thinking about other literature through which many great works construct their inventiveness reveals that criticism is not just a minor, secondary practice, segregated from the primary work of creativity.Participating in as well as analyzing that work of critical creativity, this volume is rich with important insights for all readers and teachers of literature.
Multilingual Literatures, Monolingual States
Literature and Its "Classes" in Nineteenth-Century America
A vital feature of American culture in the nineteenth century was the growing awareness that the literary marketplace consisted not of a single, unified, relatively homogeneous reading public but rather of many disparate, overlapping reading communities differentiated by interests, class, and level of education as well as by gender and stage of life. Tracing the segmentation of the literary marketplace in nineteenth-century America, this book analyzes the implications of the subdivided literary field for readers, writers, and literature itself. With sections focusing on segmentation by age, gender, and cultural status, In the Company of Books analyzes the ways authors and publishers carved up the field of literary production into a multitude of distinct submarkets, differentiated their products, and targeted specific groups of readers in order to guide their book-buying decisions. Combining innovative approaches to canonical authors such as Nathaniel Hawthorne, Louisa May Alcott, Mark Twain, and Henry James with engaging investigations into the careers of many lesser-known literary figures, Sarah Wadsworth reveals how American writers responded to—and contributed to—this diverse, and diversified, market. In the Company of Books contends that specialized editorial and marketing tactics, in concert with the narrative strategies of authors and the reading practices of the book-buying public, transformed the literary landscape, leading to new roles for the book in American culture, the innovation of literary genres, and new relationships between books and readers. Both an exploration of a fragmented print culture through the lens of nineteenth-century American literature and an analysis of nineteenth-century American literature from the perspective of this subdivided marketplace, this wide-ranging study offers fresh insight into the impact of market forces on the development of American literature.
Religion in the Literature of America
American literature offers exceptional resources for understanding the complex role religion has played in the life of the culture and in the experience of its people. In recent decades, however, the academic study of that literature has largely treated religion, in the words of a noted scholar, as an"invisible domain."In joining the rich conversations that have enlivened American culture for centuries, Invisible Conversations seeks to bring to light the vital role that religion has played in the literature of the United States.
Vol. 1 (2010) through current issue
The Journal of Modern Periodical Studies will be a peer-reviewed scholarly online journal devoted to the academic study of “little magazines” of the modern period. Contributions will investigate from a wide variety of angles daily newspapers, weeklies, monthlies, quarterlies, and irregularly published small magazines published from 1880 to 1950 in the English-speaking world. A section will discuss the latest literature and resources (Web, etc.) in the field and related disciplines. Selected book reviews will be included.
The Consciousness of Mediation in Eighteenth-Century Britain
The eighteenth century has long been associated with realism and objective description, modes of representation that deemphasize writing. But in the middle decades of the century, Christina Lupton observes, authors described with surprising candor the material and economic facets of their own texts' production. In Knowing Books Lupton examines a variety of eighteenth-century sources, including sermons, graffiti, philosophical texts, and magazines, which illustrate the range and character of mid-century experiments with words announcing their status as physical objects. Books that "know" their own presence on the page and in the reader's hand become, in Lupton's account, tantalizing objects whose entertainment value competes with that of realist narrative.
Knowing Books introduces these mid-eighteenth-century works as part of a long history of self-conscious texts being greeted as fashionable objects. Poststructuralist and Marxist approaches to literature celebrate the consciousness of writing and economic production as belonging to revolutionary understandings of the world, but authors of the period under Lupton's gaze expose the facts of mediation without being revolutionary. On the contrary, their explication of economic and material processes shores up their claim to material autonomy and economic success. Lupton uses media theory and close reading to suggest the desire of eighteenth-century readers to attribute sentience to technologies and objects that entertain them.
Rather than a historical study of print technology, Knowing Books offers a humanist interpretation of the will to cede agency to media. This horizon of theoretical engagement makes Knowing Books at once an account of the least studied decades of the eighteenth century and a work of relevance for those interested in new attitudes toward media in the twenty-first.
While a large amount of scholarship about Milan Kundera's work exists, in Liisa Steinby's opinion his work has not been studied within the context of (European) modernity as a sociohistorical and a cultural concept. Of course, he is considered to be a modernist writer (some call him even a postmodernist), but what the broader concept of modernity intellectually, historically, socially, and culturally means for him and how this is expressed in his texts has not been thoroughly examined. Steinby's book fills this vacuum by analyzing Kundera's novels from the viewpoint of his understanding of the existential problems in the culture of modernity. In addition, his relation to those modernist novelists from the first half of the twentieth century who are most important for him is scrutinized in detail. Steinby’s Kundera and Modernity is intended for students of modernism in literary and (comparative) cultural studies, as well as those interested in European and Central European studies. Key Points: • Offers new insights into the work of the popular modern writer Milan Kundera. • Expands the reader’s understanding of the meaning of the concept of “modernity.” • Widens the literature available in English about Central European culture. Quote: “This work is superb. By examining the works and traditions that Kundera claims to have influenced him, Steinby demonstrates how Kundera’s misreading of previous novelists as well as his own desire to be taken out of the Czech or Central European context has informed his own work. This book is the result of many years of painstaking research.” Craig Cravens, Indiana University