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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.
With a Translation of the Book of the Prophet Muhammad's Ascent to Heaven
Islamic allegory is the product of a cohesive literary tradition to which few contributed as significantly as Ibn Sina (Avicenna), the eleventh-century Muslim philosopher. Peter Heath here offers a detailed examination of Avicenna's contribution, paying special attention to Avicenna's psychology and poetics and to the ways in which they influenced strains of theological, mystical, and literary thought in subsequent Islamic—and Western—intellectual and religious history.
Heath begins by showing how Avicenna's writings fit into the context and general history of Islamic allegory and explores the interaction among allegory, allegoresis, and philosophy in Avicenna's thought. He then provides a brief introduction to Avicenna as an historical figure. From there, he examines the ways in which Avicenna's cosmological, psychological, and epistemological theories find parallel, if diverse, expression in the disparate formats of philosophical and allegorical narration. Included in this book is an illustration of Avicenna's allegorical practice. This takes the form of a translation of the Mi'raj Nama (The Book of the Prophet Muhammad's Ascent to Heaven), a short treatise in Persian generally attributed to Avicenna.
The text concludes with an investigation of the literary dimension Avicenna's allegorical theory and practice by examining his use of description metaphor. Allegory and Philosophy in Avicenna is an original and important work that breaks new ground by applying the techniques of modern literary criticism to the study of Medieval Islamic philosophy. It will be of interest to scholars and students of medieval Islamic and Western literature and philosophy.
Alliterative Revivals is the first full-length study of the sophisticated historical consciousness of late medieval alliterative romance. Drawing from historicism, feminism, performance studies, and postcolonial theory, Christine Chism argues that these poems animate British history by reviving and acknowledging potentially threatening figures from the medieval past—pagan judges, primeval giants, Greek knights, Jewish forefathers, Egyptian sorcerers, and dead ancestors. In addressing the ways alliterative poems centralize history—the dangerous but profitable commerce of the present with the past—Chism's book shifts the emphasis from the philological questions that have preoccupied studies of alliterative romance and offers a new argument about the uses of alliterative poetry, how it appealed to its original producers and audiences, and why it deserves attention now.
Alliterative Revivals examines eight poems: St. Erkenwald, Sir Gawain and the Green Knight, The Wars of Alexander, The Siege of Jerusalem, the alliterative Morte Arthure, De Tribus Regibus Mortuis, The Awntyrs off Arthure, and Somer Sunday. Chism both historicizes these texts and argues that they are themselves obsessed with history, dramatizing encounters between the ancient past and the medieval present as a way for fourteenth-century contemporaries to examine and rethink a range of ideologies.
These poems project contemporary conflicts into vivid, vast, and spectacular historical theaters in order to reimagine the complex relations between monarchy and nobility, ecclesiastical authority and lay piety, courtly and provincial culture, western Christendom and its easterly others, and the living and their dead progenitors. In this, alliterative romance joins hands with other late fourteenth-century literary texts that make trouble at the borders of aristocratic culture.
The Alphabet Conspiracy takes its name from a 1950s-era school filmstrip of the same title. With a cast that includes patron saints for country girls and criminals, a Revolutionary War hero, the Wolfman, a sin-eater, John Wayne, and Johnny Cash, these poems swagger and sulk through an educational film turned film noir, replete with femme fatales in love. The Alphabet Conspiracy is about the ways in which language itself can function as a plot, keeping us estranged from ourselves, but also about the way it can be used as a tool for recovering our truest selves.
This is the first book published in English by of the work of Brazilian poet Adelia Prado. Incorporating poems published over the past fifteen years, The Alphabet in the Park is a book of passion and intelligence, wit and instinct. These are poems about human concerns, especially those of women, about living in one's body and out of it, about the physical but also the spiritual and the imaginative life. Prado also writes about ordinary matters; she insists that the human experience is both mystical and carnal. To Prado these are not contradictory: "It's the soul that's erotic," she writes.
As Ellen Watson says in her introduction, "Adelia Prados poetry is a poetry of abundance. These poems overflow with the humble, grand, various stuff of daily life - necklaces, bicycles, fish; saints and prostitutes and presidents; innumerable chickens and musical instruments...And, seemingly at every turn, there is food." But also, an abundance of dark things, cancer, death, greed. These are poems of appetite, all kinds.
Sentimental Literature and Nineteenth-Century American Religion
Displays of devout religious faith are very much in evidence in nineteenth-century sentimental novels such as Uncle Tom's Cabin and Little Women, but the precise theological nature of this piety has been little examined. In the first dedicated study of the religious contents of sentimental literature, Claudia Stokes counters the long-standing characterization of sentimental piety as blandly nondescript and demonstrates that these works were in fact groundbreaking, assertive, and highly specific in their theological recommendations and endorsements. The Altar at Home explores the many religious contexts and contents of sentimental literature of the American nineteenth century, from the growth of Methodism in the Second Great Awakening and popular millennialism to the developing theologies of Mormonism and Christian Science.
Through analysis of numerous contemporary religious debates, Stokes demonstrates how sentimental writers, rather than offering simple depictions of domesticity, instead manipulated these scenes to advocate for divergent new beliefs and bolster their own religious authority. On the one hand, the comforting rhetoric of domesticity provided a subtle cover for sentimental writers to advance controversial new beliefs, practices, and causes such as Methodism, revivalism, feminist theology, and even female clergy. On the other hand, sentimentality enabled women writers to bolster and affirm their own suitability for positions of public religious leadership, thereby violating the same domestic enclosure lauded by the texts. The Altar at Home offers a fascinating new historical perspective on the dynamic role sentimental literature played in the development of innumerable new religious movements and practices, many of which remain popular today
Nationalisms, Terror, and the State in Nineteenth-Century Britain and Ireland
Alter-Nations: Nationalisms, Terror, and the State in Nineteenth-Century Britain and Ireland investigates how Victorian cultural production on both sides of the Irish Sea grappled with the complex relationship between British imperial nationalism and Irish anticolonial nationalism. In the process, this study reconceptualizes the history of modern nationhood in Britain and Ireland. Taking as its archive political theory, polemical prose, novels, political cartoons, memoir, and newspaper writings, Amy E. Martin’s Alter-Nations examines the central place of Irish anticolonial nationalism in Victorian culture and provides a new genealogy of categories such as “nationalism” “terror,” and “the state.” In texts from Britain and Ireland, we can trace the emergence of new narratives of Irish immigration, racial difference, and Irish violence as central to capitalist national crisis in nineteenth-century Britain. In visual culture and newspaper writing of the 1860s, the modern idea of “terrorism” as irrational and racialized anticolonial violence first comes into being. This new ideology of terrorism finds its counterpart in Victorian theorizations of the modern hegemonic state form, which justify the state’s monopoly of violence by imagining its apparatuses as specifically anti-terrorist. At the same time, Irish Fenian writings articulate anticolonial critique that anticipates the problematics of postcolonial studies and attempts to reimagine in generative and radical ways anticolonialism’s relation to modernity and the state form. By so doing, Alter-Nations argues for the centrality of Irish studies to postcolonial and Victorian studies, and reconceptualizes the boundaries and concerns of those fields.
Women Shaping Berber Identity
In southeastern Morocco, around the oasis of Tafilalet, the Ait Khabbash people weave brightly colored carpets, embroider indigo head coverings, paint their faces with saffron, and wear ornate jewelry. Their extraordinarily detailed arts are rich in cultural symbolism; they are always breathtakingly beautiful—and they are typically made by women. Like other Amazigh (Berber) groups (but in contrast to the Arab societies of North Africa), the Ait Khabbash have entrusted their artistic responsibilities to women. Cynthia Becker spent years in Morocco living among these women and, through family connections and female fellowship, achieved unprecedented access to the artistic rituals of the Ait Khabbash. The result is more than a stunning examination of the arts themselves, it is also an illumination of women's roles in Islamic North Africa and the many ways in which women negotiate complex social and religious issues. One of the reasons Amazigh women are artists is that the arts are expressions of ethnic identity, and it follows that the guardians of Amazigh identity ought to be those who literally ensure its continuation from generation to generation, the Amazigh women. Not surprisingly, the arts are visual expressions of womanhood, and fertility symbols are prevalent. Controlling the visual symbols of Amazigh identity has given these women power and prestige. Their clothing, tattoos, and jewelry are public identity statements; such public artistic expressions contrast with the stereotype that women in the Islamic world are secluded and veiled. But their role as public identity symbols can also be restrictive, and history (French colonialism, the subsequent rise of an Arab-dominated government in Morocco, and the recent emergence of a transnational Berber movement) has forced Ait Khabbash women to adapt their arts as their people adapt to the contemporary world. By framing Amazigh arts with historical and cultural context, Cynthia Becker allows the reader to see the full measure of these fascinating artworks.