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The Challenges of Resistance in 1930s Fiction
Mia Spiro's Anti-Nazi Modernism marks a major step forward in the critical debates over the relationship between modernist art and politics. Spiro analyzes the antifascist, and particularly anti-Nazi, narrative methods used by key British and American fiction writers in the 1930s. Focusing on works by Djuna Barnes, Christopher Isherwood, and Virginia Woolf, Spiro illustrates how these writers use an "anti-Nazi aesthetic" to target and expose Nazism’s murderous discourse of exclusion. The three writers challenge the illusion of harmony and unity promoted by the Nazi spectacle in parades, film, rallies, and propaganda. Spiro illustrates how their writings, seldom read in this way, resonate with the psychological and social theories of the period and warn against Nazism’s suppression of individuality. Her approach also demonstrates how historical and cultural contexts complicate the works, often reinforcing the oppressive discourses they aim to attack. This book explores the textual ambivalences toward the "Others" in society—most prominently the Modern Woman, the homosexual, and the Jew. By doing so, Spiro uncovers important clues to the sexual and racial politics that were widespread in Europe and the United States in the years leading up to World War II.
The Case of Iago
This book is a concise philosophical meditation on Iago and the nature of evil, through the exploration of the enduring puzzle found in Shakespeare's Othello. What drives Iago to orchestrate Othello's downfall? Instead of treating Iago's lack of motive as the play's greatest weakness, The Apologetics of Evil shows how this absence of motive is the play's greatest strength. Richard Raatzsch determines that Iago does not seek a particular end or revenge for a discrete wrong; instead, Iago is governed by a passion for intriguing in itself. Raatzsch explains that this passion is a pathological version of ordinary human behavior and that Iago lacks the ability to acknowledge others; what matters most to him is the difference between himself and the rest of the world.
The book opens with a portrait of Iago, and considers the nature and moral significance of the evil that he represents. Raatzsch addresses the boundaries dividing normality and pathology, conceptualizing evil as a pathological form of the good or ordinary. Seen this way, evil is conceptually dependent on the ordinary, and Iago, as a form of moral monster, is a kind of nonbeing. Therefore, his actions might be understood and defended, even if they cannot be justified. In a brief epilogue, Raatzsch argues that literature's presentation of what is monstrous or virtuous can constitute an understanding of these concepts, not merely illustrate them.
Virtual Travel and Victorian Realism
Are We There Yet?: Virtual Travel and Victorian Realism connects the Victorian fascination with "virtual travel" with the rise of realism in 19th-century fiction and 21st-century experiments in virtual reality. Even as the expansion of river and railway networks in the 19th century made travel easier than ever before, staying at home and fantasizing about travel turned into a favorite pastime. New ways of representing place---360-degree panoramas, foldout river maps, exhaustive railway guides---offered themselves as substitutes for actual travel. Thinking of these representations as a form of "virtual travel" reveals a surprising continuity between the Victorian fascination with imaginative dislocation and 21st-century efforts to use digital technology to expand the physical boundaries of the self.
Vol. 1 (2013) through current issue
ariel: A Review of International English Literature, is focused on the critical and scholarly study of global literatures in English. The journal publishes articles in postcolonial studies exploring issues of colonial power and resistance as well as innovative scholarship on globalization, new forms and sites of exploitation and colonization in an age of transnational capitalism, displacement and diaspora studies, global ecocriticism, cultural and cross-cultural translation, and related areas. Founded in 1970 as one of the first journals in Commonwealth studies, ariel has remained at the forefront of postcolonial and world literature criticism, with readers and subscribers in more than 50 countries around the globe.
The Significance of John Milton's Relatives and Associates
John T. Shawcross's groundbreaking new study of John Milton is an essential work of scholarship for those who seek a greater understanding of Milton, his family, and his social and political world. Shawcross uses extensive new archival research to scrutinize several misunderstood elements of Milton's life, including his first marriage and his relationship with his brother, brother-in-law and nephews. Shawcross examines Milton's numerous royalist connections, complicating the conventional view of Milton as eminent Puritan and raising questions about the role his connections played in his relatively mild punishment after the Restoration.
Unique in its methodology, The Arms of the Family is required reading not only for students of Milton but also for students of biography in general. Entire chapters dedicated to Milton's brother Christopher, his brother-in-law Thomas Agar, and his nephews Edward and John Phillips, illuminate the domestic forces that helped shape Milton's point of view. The final chapters reconsider Milton's political and sociological ideology in the light of these domestic forces and in the religious context of his three major poetic works: Paradise Lost, Paradise Regain'd, and Samson Agonistes. The Arms of the Family is a seminal work by a preeminent Miltonist, marking a major advance in Milton studies and serving as a model for those engaged in family history, social history, and the early modern period.
English Law Courts and the Novel
In The Art of Alibi, Jonathan Grossman reconstructs the relation of the novel to nineteenth-century law courts. During the Romantic era, courthouses and trial scenes frequently found their way into the plots of English novels. As Grossman states, "by the Victorian period, these scenes represented a powerful intersection of narrative form with a complementary and competing structure for storytelling." He argues that the courts, newly fashioned as a site in which to orchestrate voices and reconstruct stories, arose as a cultural presence influencing the shape of the English novel. Weaving examinations of novels such as William Godwin's Caleb Williams, Mary Shelley's Frankenstein, and Charles Dickens's The Pickwick Papers and Oliver Twist, along with a reading of the new Royal Courts of Justice, Grossman charts the exciting changes occurring within the novel, especially crime fiction, that preceded and led to the invention of the detective mystery in the 1840s.
An Annotated Bibliography
Arthur Symons’s (1865–1945) prominence at the end of the nineteenth century and subsequent influence on early-twentieth-century literature is well established. His biographer Karl Beckson aptly calls him “a major figure who helped stimulate the Modernist initiative.” The breadth of his artistic interests and critical commentary remains extraordinary. In addition to writing short stories, poems, plays, travel sketches, and translations, Symons was a prolific critic and editor who wrote about literature and what he termed “the seven arts.” Yeats famously offered him the laurel “best critic of his generation.” Symons championed freedom of subject matter and literary style and thus influenced the work of Yeats, Eliot, Pound, Joyce, and others, particularly in introducing them to the evocative work of French symbolist writers. Arthur Symons, Critic Among Critics: An Annotated Bibliography documents the scholarly attention Symons continues to receive not only for his critical influence, but for his own creative work. This annotated bibliography captures over 1300 articles, books, reviews, dissertations, and other writings about Symons, revising and updating Carol Simpson Stern’s 1974 bibliography published in English Literature in Transition, 1880–1920. Over 1000 new items appear, some of these from unsigned articles now identified as written by authors such as Virginia Woolf and John Middleton Murry. The book, arranged alphabetically by author with annotations in paraphrase style, includes a helpful index and provides a chronological list of works published from the1880s to early 2007 that will prove useful in tracing the evolution of criticism about Symons
Vol. 4 (1994) through current issue
Arthuriana is the widely respected quarterly for the International Arthurian Society - North American Branch. This peer-reviewed journal considers all aspects of the Arthurian and chivalric cultures from the Middle Ages to the current moment. Poised on the cutting edge of cultural studies, Arthuriana consistently publishes work by the most respected and innovative scholars in the field. Arthuriana publishes book reviews and brief notices on a wide range of medieval and Arthurian subjects. Regular notices of the activities of the International Arthurian Society appear in this journal.
Discourse, Culture, and Satire in Restoration England
At Zero Point presents an entirely new way of looking at Restoration culture, discourse, and satire. The book locates a rupture in English culture and epistemology not at the end of the eighteenth century (when it occurred in France) but at the end of the seventeenth century. Rose Zimbardo's hypothesis is based on Hans Blumenberg's concept of "zero point" -- the moment when an epistemology collapses under the weight of questions it has itself raised and simultaneously a new epistemology begins to construct itself. Zimbardo demonstrates that the Restoration marked both the collapse of the Renaissance order and the birth of modernism (with its new conceptions of self, nation, gender, language, logic, subjectivity, and reality). Using satire as the site for her investigation, Zimbardo examines works by Rochester, Oldham, Wycherley, and the early Swift for examples of Restoration deconstructive satire that, she argues, measure the collapse of Renaissance epistemology. Constructive satire, as exemplified in works by Dryden, has at its discursive center the "I" from which all order arises to be projected to the external world. No other book treats Restoration culture or satire in this way.