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Transnational Theater, Literature, and Film in Contemporary Germany
The contemporary moment has been described in terms of both a “narrative” and a “performative turn,” but the overlap between these two has largely escaped attention. This curious gap is explained by the ways in which scholars across the humanities have defined narrative and performance as opposite forces, emphasizing their respective affiliations with time vs. space and identity constitution vs. its undoing. Although the opposition has been acknowledged as false by many in this simple form, its shifting instantiations continue to shape the ways we make sense of the arts as well as society. Instead, An Aesthetics of Narrative Performance: Transnational Theater, Literature, and Film in Contemporary Germany by Claudia Breger maps the complexities of imaginative worldmaking in contemporary culture through an aesthetics of narrative performance: an ensemble of techniques exploring the interplay of rupture and recontextualization in the process of configuration. Interlacing diverging definitions of both narrative and performance, the study outlines two clusters of such techniques—scenic narration and narrative “presencing” in performance vs. forms of narrative theatricalization—and analyzes the cultural work they do in individual works in three different media: literature, film, and theater. These readings focus on the rich configurations of contemporary worldmaking “at location Germany.” In the discussed representations of German unification, contemporary cultures of migration, and the transnational War on Terror, the aesthetics of narrative performance finds its identity as a multifaceted imaginative response to the post/modern crisis of narrative authority.
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.
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.
Vol. 13 (2003) through current issue
American Periodicals: A Journal of History, Criticism, & Bibliography an annual publication devoted exclusively to scholarship and criticism relating to American magazines and newspapers of all periods Sponsored by the Research Society for American Periodicals and founded by James T. F. Tanner, American Periodicals is now under the editorship of Susan Williams, Steven Fink, and Jared Gardner and published by The Ohio State University Press. Beginning in 2004, the journal will be published twice a year.
The Idea of the Literary in Medieval England
Renewed interest in aesthetics, in form, and the idea of the literary has led some scholars to announce the arrival of a “new formalism,” but the provisional histories of such a critical rebirth tend to begin well after the beginning, paying scant attention to medieval literary scholarship, much less the Middle Ages. The essays in Answerable Style: The Idea of the Literary in Medieval England offer a collective rebuke to the assumption that any such aesthetic turn can succeed without careful attention to the history and criticism of “the medieval literary.” Taking as their touchstone the influential work of Anne Middleton, whose searching explorations of the dialectical intersection of form and history in Middle English writing lie at the heart of the medievalist’s literary critical enterprise, the essays in this volume address the medieval idea of the literary, with special focus on the poetry of Chaucer, Langland, and Gower. The essays, by a notable array of medievalists, range from the “contact zones” between clerical culture and vernacular writing, to manuscript study and its effects on the modalities of “persona” and voicing, to the history of emotion as a basis for new literary ideals, to the reshapings of the genre of tragedy in response to late-medieval visions of history, and finally to the relations between poets writing in different medieval vernaculars. With this unusually broad yet thematically complementary set of essays, Answerable Style offers a set of key critical and historical reference points for questions currently preoccupying literary study.
Recovering the African American Poetry of the 1930s
Anthems, Sonnets, and Chants: Recovering the African American Poetry of the 1930s, by Jon Woodson, uses social philology to unveil social discourse, self fashioning, and debates in poems gathered from anthologies, magazines, newspapers, and individual collections. The first chapter examines three long poems, finding overarching jeremiadic discourse that inaugurated a militant, politically aware agent. Chapter two examines self-fashioning in the numerous sonnets that responded to the new media of radio, newsreels, movies, and photo-magazines. The third chapter shows how new subjectivities were generated by poetry addressed to the threat of race war in which the white race was exterminated. The black intellectuals who dominated the interpretative discourses of the 1930s fostered exteriority, while black culture as a whole plunged into interiority. Anthems, Sonnets, and Chants delineates the struggle between these inner and outer worlds, a study made difficult by a contemporary intellectual culture which recoils from a belief in a consistent, integrated self.
In Corey Van Landingham’s Antidote, love equates with disease, valediction is a contact sport, the moon is a lunatic, and someone is always watching. Here the uncanny coexists with the personal, so that each poem undergoes making and unmaking, is birthed and bound in an acute strangeness. Elegy is made new by a speaker both heartbreaking and transgressive. Van Landingham reveals the instability of self and perception in states of grief; she is not afraid to tip the world upside down and shake it out, gather the lint and change from its pockets and say, “I can make something with this.” Wild and surreal, driven by loss, Antidote invites both the beautiful and the brutal into its arms, allowing for shocking declarations about love: that it is like hibernation, a car crash, or a parasite. Time, geography, and landscape are called into question as backdrops for various forms of valediction. It soon becomes clear that there is no antidote one can take for grief or heartbreak; that love can, at times, feel like violence; and that one may never get better at saying goodbye.
Judgment, Cataclysm, and Resistance in the Regional Imaginary
While John Winthrop might have famously uttered the phrase “city upon a hill” on the way to Massachusetts, the strands of millennialism and exceptionalism that remain so central to U.S. political discourse are now dominated by eschatological visions that have emerged from the particular historical experiences of the U.S. South. Despite the strategic exploitation of this reality by political communicators, scholars in the humanities have paid little attention to the eschatological visions offered by southern religious culture. Fortunately, writers and artists have not ignored such matters; compared to their academic counterparts, southern novelists have been far better attuned to a southern apocalyptic imaginary—a field of reference, drawn from the cosmology of southern evangelical Protestantism, that maps the apocalyptic possibilities of cataclysm, judgment, deliverance, and even revolution onto the landscape of the region. Apocalypse South rectifies the omissions in existing scholarship by interrogating the role of apocalyptic discourse in selected works of fiction by four southern writers—William Faulkner, Richard Wright, Randall Kenan, and Dorothy Allison. In doing so, it reinvigorates discussions of religion in southern literary scholarship and introduces a new element in the ongoing investigation into how regional identities function in notions of national mission and American exceptionalism. Engaging concerns of religion, race, sexuality, and community in fiction from the 1930s to the present, Apocalypse South offers a new conceptual framework for considering what has long been considered “southern Gothic literature”—a framework less concerned with the conventions of a particular literary genre than with the ways in which literature exposes and even tries to make sense of the contradictions within cultures.
Boris Pasternak's Early Prose
Art after Philosophy: Boris Pasternak’s Early Prose, by Elena Glazov-Corrigan, redefines an area in Slavic studies which has suffered from neglect for several decades, namely, Pasternak’s early prose narratives. In her bold new study, Glazov-Corrigan analyzes the conceptual networks of thought Pasternak developed when he turned to literature after abandoning the study of Neo-Kantianism in Marburg during the summer of 1912. This book shows conclusively that Pasternak’s knowledge of philosophy is inseparable from his prose works, even though in his early stories and novellas (1913–1918) philosophical ideas operate neither as discrete textual units nor as micro-elements or clusters of possible signification. In the early Pasternak, philosophy becomes a narrative art, a large-scale narrative frame, a manner of seeing rather than of constructing reality. After Roman Jakobson’s famous 1935 essay, which characterized the early Pasternak as a “virtuoso of metonymy,” in contrast to the metaphoric Mayakovsky, no other approach has been able to generate comparable scholarly influence. The present study takes up the implicit challenge of this critical impasse. Entering into a debate with Jakobson’s findings, Art after Philosophy illuminates Pasternak’s boldest artistic experiments and suggests to his readers entirely new ways of approaching not only his early but also his later writing.
The poems in Blood Prism span a lifetime. Its three sections, “Memory,” “Politics,” and “Age,” frame meditations on a violence-blotched world with reflections on the author’s childhood and conclusions about a decades-long life of writing. “I’m 60 and still . . . alive in this world, with love and with its palindrome,” one poem says. And the argument of the book turns on that precise puzzle: on evol, invoking as it does both evil and evolve, both human wrong and life as something more than mere survival. In a variety of styles—prose poems, standard and dislocated forms—Hoeppner uses “blood” to represent family and history, his surprising and richly imagistic language rendering the emptiness he calls imagination “into remains. Into what persists.”