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Mennonite Writing in North America
For decades, the field of Mennonite literature has been dominated by the question of Mennonite identity. After Identity interrogates this prolonged preoccupation and explores the potential to move beyond it to a truly post-identity Mennonite literature.
The twelve essays collected here view Mennonite writing as transitioning beyond a tradition concerned primarily with defining itself and its cultural milieu. What this means for the future of Mennonite literature and its attendant criticism is the question at the heart of this volume. Contributors explore the histories and contexts—as well as the gaps—that have informed and diverted the perennial focus on identity in Mennonite literature, even as that identity is reread, reframed, and expanded.
After Identity is a timely reappraisal of the Mennonite literature of Canada and the United States at the very moment when that literature seems ready to progress into a new era.
In addition to the editor, the contributors are Ervin Beck, Di Brandt, Daniel Shank Cruz, Jeff Gundy, Ann Hostetler, Julia Spicher Kasdorf, Royden Loewen, Jesse Nathan, Magdalene Redekop, Hildi Froese Tiessen, and Paul Tiessen.
Possibility, Potentiality, and the Future of Performance
After Live conceives of traditional dramatic theater as a place for taming the future and then conceptualizes how performance beyond this paradigm might stage the unruly nature of futurity. Chapters offer insights into the plays of Beckett, Churchill, Eno, and Gombrowicz, devised theater practices, and include an extended exploration of the Italian director Romeo Castellucci. Through the lens of potentiality, other chapters present novel approaches to minimalist sculpture and dance, then reflect on how the beholder him or herself is called upon to perform when confronted by such work.
"Re-writing" and the "Hermeneutic Attitude"
After Machiavelli is an examination of the triangular relationship of "re-writing"-a dynamic process encompassing both creative newness and awareness of historical profundity"-the "hermeneutic attitude:' and Machiavelli's poiesis. Specifically, it addresses four questions: First, to what degree can we speak of intersection (interaction) among this triad? Second, what common ground do all three actually share? Third, in what particular manner do the act of "re-writing" and the "hermeneutic attitude" manifest themselves in the writings of Niccoli Machiavelli? And last, what bearing does this have on the reader, heir to Machiavelli's literary legacy?
The Holocaust, Literature, and Culture
After Representation? explores one of the major issues in Holocaust studiesùthe intersection of memory and ethics in artistic expression, particularly within literature. Contributors examine the shifting cultural contexts for Holocaust representation and reveal how writersùwhether they write as witnesses to the Holocaust or at an imaginative distance from the Nazi genocideùarticulate the shadowy borderline between fact and fiction, between event and expression, and between the condition of life endured in atrocity and the hope of ameaningful existence.
Fiction of the Contemporary South
A provocative reckoning of the challenging new direction southern literature has taken in the works of nine authors
The literature of the contemporary South might best be understood for its discontinuity with the literary past. At odds with traditions of the Southern Renascence, southern literature of today sharply refutes the Nashville Agrarians and shares few of Faulkner's and Welty's concerns about place, community, and history.
This sweeping study of the literary South's new direction focuses on nine well established writers who, by breaking away from the firmly ensconced myths, have emerged as an iconoclastic generation- -- Harry Crews, Dorothy Allison, Bobbie Ann Mason, Larry Brown, Kaye Gibbons, Randall Kenan, Richard Ford, Cormac McCarthy, and Barry Hannah. Resisting the modernist methods of the past, they have established their own postmodern ground beyond the shadow of their predecessors.
This shift in authorial perspective is a significant indicator of the future of southern writing. Crews's seminal role as a ground-breaking "poor white" author, Mason's and Crews's portrayals of rural life, and Allison's and Brown's frank portrayals of the lower class pose a challenge to traditional depictions of the South. The dissenting voices of Gibbons and Kenan, who focus on gender, race, and sexuality, create fiction that is at once identifiably "southern" and also distinctly subversive. Gibbons's iconoclastic stance toward patriarchy, like the outsider's critique of community found in Kenan's work, proffers a portrait of the South unprecedented in the region's literature. Ford, McCarthy, and Hannah each approach the South's traditional notions of history and community with new irreverence and treat familiar southern topics in a distinctly postmodern manner. Whether through Ford's generic consumer landscape, the haunted netherworld of McCarthy's southern novels, or Hannah's riotous burlesque of the Civil War, these authors assail the philosophical and cultural foundations from which the Southern Renascence arose.
Challenging the conventional conceptions of the southern canon, this is a provocative and innovative contribution to the region's literary study.
Matthew Guinn, formerly an instructor of English at the University of Mississippi, has published articles on southern literature in Southern Quarterly, South Atlantic Review, and Resources for American Literary Study.
The Ethics and Aesthetics of Holocaust Narrative for the Future
After Testimony: The Ethics and Aesthetics of Holocaust Narrative for the Future collects sixteen essays written with the awareness that we are on the verge of a historical shift in our relation to the Third Reich’s programmatic genocide. Soon there will be no living survivors of the Holocaust, and therefore people not directly connected to the event must assume the full responsibility for representing it. The contributors believe that this shift has broad consequences for narratives of the Holocaust. By virtue of being “after” the accounts of survivors, storytellers must find their own ways of coming to terms with the historical reality that those testimonies have tried to communicate. The ethical and aesthetic dimensions of these stories will be especially crucial to their effectiveness. Guided by these principles and employing the tools of contemporary narrative theory, the contributors analyze a wide range of Holocaust narratives—fictional and nonfictional, literary and filmic—for the dual purpose of offering fresh insights and identifying issues and strategies likely to be significant in the future. In addition to the editors, the contributors are Daphna Erdinast-Vulcan, Sidra DeKoven Ezrahi, Anniken Greve, Jeremy Hawthorn, Marianne Hirsch, Irene Kacandes, Phillipe Mesnard, J. Hillis Miller, Michael Rothberg, Beatrice Sandberg, Anette H. Storeide, Anne Thelle, and Janet Walker.
American Fiction in the 1990s
The Demeter-Persephone Myth in Wharton, Cather, and Glasgow
A continuation of Josephine Donovan's exploration of American women's literary traditions, begun with New England Local Color Literature: A Women's Tradition, which treats the nineteenth-century realists, this work analyzes the writing of major women writers of the early twentieth century—Edith Wharton, Willa Cather, and Ellen Glasgow.
The author sees the Demeter-Persephone myth as central to these writers' thematics, but interprets the myth in terms of the historical transitions taking place in turn-of-the-century America. Donovan focuses on the changing relationship between mothers and daughters—in particular upon the "new women's" rebellion against the traditional women's culture of their nineteenth-century mothers (both literary and literal). An introductory chapter traces the male-supremacist ideologies that formed the intellectual climate in which these women wrote.
Reorienting Wharton, Cather, and Glasgow within women's literary traditions produces major reinterpretations of their works, including such masterpieces as Ethan Frome, Summer, My Antonia, Barren Ground, and others.
War and Occupation in Irène Némirovsky's Suite française
In this work, the first critical monograph on Suite française, Nathan Bracher shows how, first amid the chaos and panic of the May-June 1940 debacle, and then within the unsettling new order of the German occupation, Némirovsky's novel casts a particularly revealing light on the behavior and attitudes of the French as well as on the highly problematic interaction of France's social classes