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A Biographical Chronicle of Her Life, Drawn from Recollections, Interviews, and Memoirs by Family, Friends, and Associates
Interrogating how Alexandria became enshrined as the exemplary cosmopolitan space in the Middle East, this book mounts a radical critique of Eurocentric conceptions of cosmopolitanism. The dominant account of Alexandrian cosmopolitanism elevates things European in the city's culture and simultaneously places things Egyptian under the sign of decline. The book goes beyond this civilization/barbarism binary to trace other modes of intercultural solidarity. Halim presents a comparative study of literary representations, addressing poetry, fiction, guidebooks, and operettas, among other genres. She reappraises three writers--C. P. Cavafy, E. M. Forster, and Lawrence Durrell-- whom she maintains have been cast as the canon of Alexandria. Attending to issues of genre, gender, ethnicity, and class, she refutes the view that these writers' representations are largely congruent and uncovers a variety of positions ranging from Orientalist to anti-colonial. The book then turns to Bernard de Zogheb, a virtually unpublished writer, and elicits his Camp parodies of elite Levantine mores in operettas one of which centers on Cavafy. Drawing on Arabic critical and historical texts, as well as contemporary writers' and filmmakers' engagement with the canonical triumvirate, Halim orchestrates an Egyptian dialogue with the European representations.
The Life and Times of Johnson Jones Hooper
The Story of Alice Howe Gibbens James
Science Fiction and Feminist Thought
Though set in other worlds populated by alien beings, science fiction is a site where humans can critique and re-imagine the paradigms that shape this world, from fundamentals such as the sex and gender of the body to global power relations among sexes, races, and nations. Feminist thinkers and writers are increasingly recognizing science fiction's potential to shatter patriarchal and heterosexual norms, while the creators of science fiction are bringing new depth and complexity to the genre by engaging with feminist theories and politics. This book maps the intersection of feminism and science fiction through close readings of science fiction literature by Octavia E. Butler, Richard Calder, and Melissa Scott and the movies The Matrix and the Alien series. Patricia Melzer analyzes how these authors and films represent debates and concepts in three areas of feminist thought: identity and difference, feminist critiques of science and technology, and the relationship among gender identity, body, and desire, including the new gender politics of queer desires, transgender, and intersexed bodies and identities. She demonstrates that key political elements shape these debates, including global capitalism and exploitative class relations within a growing international system; the impact of computer, industrial, and medical technologies on women's lives and reproductive rights; and posthuman embodiment as expressed through biotechnologies, the body/machine interface, and the commodification of desire. Melzer's investigation makes it clear that feminist writings and readings of science fiction are part of a feminist critique of existing power relations—and that the alien constructions (cyborgs, clones, androids, aliens, and hybrids) that populate postmodern science fiction are as potentially empowering as they are threatening.
Representations of the Exotic in Twentieth-Century Japanese Literature
Readers worldwide have long been drawn to the foreign, the exotic, and the alien, even before Freud’s famous essay on the uncanny in 1919. Given Japan’s many years of relative isolation, followed by its multicultural empire, these themes seem particularly ripe for exploration and exploitation by Japanese writers. Their literary adventures have taken them inside Japan as well as outside, and how they internalized the exotic through the adoption of modernist techniques and subject matter forms the primary subject of this book. The Alien Within is the first book-length thematic study in English of the alien in modern Japanese literature and helps shed new light on a number of important authors. Morton examines the Gothic, a form of writing with strong affinities to European Gothic and a motif in the fiction of several key modern Japanese writers, such as Arishima Takeo. Morton also discusses the translations of Tsubouchi Shoyo, Japan’s most famous early translator of Shakespeare, and how this most alien and exotic author was absorbed into the Japanese literary and theatrical tradition. The new field of translation theory and how it relates to translating Shakespeare are also discussed. Morton devotes two chapters to the celebrated female poet Yosano Akiko, whose verse on childbirth and her unborn children broke taboos relating to the expression of the female body and sensibility. He also highlights the writing of contemporary Okinawan novelist Oshiro Tatsuhiro, whose work springs from what is for Japanese an exotic subtropical landscape and makes symbolic reference to the otherness at the heart of Japanese religiosity. Another significant but equally overlooked subject is the focus of the final chapter, which analyzes the travel writing of internationally best-selling author Murakami Haruki. Murakami’s great corpus of work includes a one-volume study of the 2000 Sydney Olympics, which Morton discusses in detail. The Alien Within breaks new ground in its treatment of the exotic in modern Japanese writing and in its discussion of authors and work hitherto absent from critical discussions in English. It will be of significant interest to readers of literature and students of modern Japanese culture and women’s writing as well as those fascinated by the occult, Gothic fiction, and the exotic.
Print Culture, Censorship, and Modernity in Twentieth-Century America
Until the close of the Second Vatican Council in 1965, the stance of the Roman Catholic Church toward the social, cultural, economic, and political developments of the twentieth century was largely antagonistic. Naturally opposed to secularization, skeptical of capitalist markets indifferent to questions of justice, confused and appalled by new forms of high and low culture, and resistant to the social and economic freedom of women—in all of these ways the Catholic Church set itself up as a thoroughly anti-modern institution. Yet, in and through the period from World War I to Vatican II, the Church did engage with, react to, and even accommodate various aspects of modernity. In All Good Books Are Catholic Books, Una M. Cadegan shows how the Church’s official position on literary culture developed over this crucial period.
The Catholic Church in the United States maintained an Index of Prohibited Books and the National Legion of Decency (founded in 1933) lobbied Hollywood to edit or ban movies, pulp magazines, and comic books that were morally suspect. These regulations posed an obstacle for the self-understanding of Catholic American readers, writers, and scholars. But as Cadegan finds, Catholics developed a rationale by which they could both respect the laws of the Church as it sought to protect the integrity of doctrine and also engage the culture of artistic and commercial freedom in which they operated as Americans. Catholic literary figures including Flannery O’Connor and Thomas Merton are important to Cadegan’s argument, particularly as their careers and the reception of their work demonstrate shifts in the relationship between Catholicism and literary culture. Cadegan trains her attention on American critics, editors, and university professors and administrators who mediated the relationship among the Church, parishioners, and the culture at large.
American Humor and Its Discontents
In this examination of stand-up comedy, Rebecca Krefting establishes a new genre of comedic production, “charged humor,” and charts its pathways from production to consumption. Some jokes are tears in the fabric of our beliefs—they challenge myths about how fair and democratic our society is and the behaviors and practices we enact to maintain those fictions. Jokes loaded with vitriol and delivered with verve, charged humor compels audiences to action, artfully summoning political critique. Since the institutionalization of stand-up comedy as a distinct cultural form, stand-up comics have leveraged charged humor to reveal social, political, and economic stratifications. All Joking Aside offers a history of charged comedy from the mid-twentieth century to the early aughts, highlighting dozens of talented comics from Dick Gregory and Robin Tyler to Micia Mosely and Hari Kondabolu. The popularity of charged humor has waxed and waned over the past sixty years. Indeed, the history of charged humor is a tale of intrigue and subversion featuring dive bars, public remonstrations, fickle audiences, movie stars turned politicians, commercial airlines, emergent technologies, neoliberal mind-sets, and a cavalcade of comic misfits with an ax to grind. Along the way, Krefting explores the fault lines in the modern economy of humor, why men are perceived to be funnier than women, the perplexing popularity of modern-day minstrelsy, and the way identities are packaged and sold in the marketplace. Appealing to anyone interested in the politics of humor and generating implications for the study of any form of popular entertainment, this history reflects on why we make the choices we do and the collective power of our consumptive practices. Readers will be delighted by the broad array of comic talent spotlighted in this book, and for those interested in comedy with substance, it will offer an alternative punchline.
Critical Perspectives on Montana Literature
Using the confluence of rivers in Pittsburgh as a metaphorical lens, Allegheny, Monongahela probes the ruinous misalignment between the external and internal lives of two sisters and their childhood in Western Pennsylvania. Their complex and difficult relationship is the spine of the collection, told obliquely through a series of sonnets and ekphrastic meditations on the paintings of Georgia O'Keeffe: the ways in which they separately navigate a violent family history that reverberates through their present and futures; their polarized impulses toward creativity and self-destruction. Rooted in a mutable, watery landscape that is not consistently recognizable, Allegheny, Monongahela investigates the collisions between the world and the self, the fissured identities that result, and the ways in which art may heal or fail to heal the cracks.