Project MUSE®: Texas Studies in Literature and Language - Latest Articles
https://muse.jhu.edu/journal/199
Project MUSE®: Latest articles in Texas Studies in Literature and Language.daily12026-05-14T00:00:00-05:00text/htmlen-USVol. 43 (2001) through current issueLatest Articles: Texas Studies in Literature and LanguageTWOProject MUSE®Texas Studies in Literature and Language1534-73030040-4691Latest articles in Texas Studies in Literature and Language. Feed provided by Project MUSE®Saving “the Rest”: Milton’s God and Peculiar Grace in Paradise Lost
https://muse.jhu.edu/article/988678
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Perhaps the most inscrutable character in John Milton’s Paradise Lost (1667) is God the Father, and perhaps his most difficult statement is this:The Father seems to be proposing a Calvinist distinction between the elect whom God chooses to save and all the rest who are damned, which would reverse the position he expressed in his previous speech. There he heralds Arminian free will: “I formd them free, and free they must remain” (3.124). This Arminian position is also the one Milton espouses in the chapter “De prædestinatione” of De doctrina Christiana (bk. 1, ch. 4). The Father in Paradise Lost returns to this view by the end of his second speech, allowing that some among “the rest” will, “to the end persisting
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/199/image/coversmallSaving “the Rest”: Milton’s God and Peculiar Grace in Paradise Lost2026-04-21text/htmlen-USSaving “the Rest”: Milton’s God and Peculiar Grace in Paradise Lost2026-04-212026TWOProject MUSE®809372026-05-14T00:00:00-05:002026-04-21Walter Scott, E. Pauline Johnson (Tekahionwake), and the Vancouver Picturesque
https://muse.jhu.edu/article/988679
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From 1911 until the late 1940s, every public school student in British Columbia read Walter Scott’s The Lady of the Lake. It is not hard to see why. The province had been part of Canada since 1871, but Vancouver was still a British imperial outpost. It was run by wealthy, white settlers who promoted immigration from Britain while maintaining racist policies excluding Indigenous and Asian communities from benefiting from the resource economy in which they labored.1 From 1885 to 1923, Canada enforced a head tax on Chinese immigrants; from 1923 to 1947, Chinese immigration was illegal. In 1907, white Vancouver citizens rioted against Chinese- and Japanese-owned businesses. In 1914, the Komagata Maru, a passenger ship
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/199/image/coversmallWalter Scott, E. Pauline Johnson (Tekahionwake), and the Vancouver Picturesque2026-04-21text/htmlen-USWalter Scott, E. Pauline Johnson (Tekahionwake), and the Vancouver Picturesque2026-04-212026TWOProject MUSE®1024362026-05-14T00:00:00-05:002026-04-21Law at the Movies: Turning Legal Doctrine into Art; A Roundtable Discussion
https://muse.jhu.edu/article/988680
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The following is an edited transcript of a discussion with renowned literary scholar and legal theorist Stanley Fish, author of Law at the Movies: Turning Legal Doctrine into Art (Oxford UP, 2024), and his interlocutors Julie Peters and Peter Goodrich. The roundtable was sponsored by the Association for the Study of Law, Culture and the Humanities and Texas Studies in Literature and Language. It was held before a live online audience on January 15, 2025. Moderating was Simon Stern, president of the association.Thanks to everyone for joining today’s session on Stanley Fish’s book Law at the Movies: Turning Legal Doctrine into Art. And thanks also to Hannah Wojciehowski for co-sponsoring today’s event through Texas
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/199/image/coversmallLaw at the Movies: Turning Legal Doctrine into Art; A Roundtable Discussion2026-04-21text/htmlen-USLaw at the Movies: Turning Legal Doctrine into Art; A Roundtable Discussion2026-04-212026TWOProject MUSE®682852026-05-14T00:00:00-05:002026-04-21The Godfather, or The Sovereign
https://muse.jhu.edu/article/988681
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When Francis Ford Coppola was preparing the screenplay for The Godfather (1972), based on Mario Puzo’s 1969 novel of the same name,1 he kept a notebook in which he wrote: “power, power, power, power, power—never forget that it is from a fascination of the limits and manipulations of Power that keep people interested in this book” (qtd. in Jones 25). In the intervening years since Part II (1974) and Part III (1990) came out, both the trilogy and the book went on to become towering icons in popular culture, and they were scrutinized by critics from many different angles. One of the theoretical fields that paid them more attention was political philosophy, since a host of related topics—such as the weight of power in
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/199/image/coversmallThe Godfather, or The Sovereign2026-04-21text/htmlen-USThe Godfather, or The Sovereign2026-04-212026TWOProject MUSE®784862026-05-14T00:00:00-05:002026-04-21James Weldon Johnson and the End of Argument in The Autobiography of an Ex–Colored Man
https://muse.jhu.edu/article/988682
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In the introduction to her collection of James Weldon Johnson’s political writings, Sondra Kathryn Wilson characterizes the great writer, historian, anthologist, and civil rights leader as a “mass educator” whose “writings served as a means of generating public opinion to build the early civil rights movement” (4). Johnson’s writing, specifically his New York Age editorials, were a “colossal rebuttal to the absurdity of American race prejudice” that presented racial bigotry “as such a foolish and absurd thing that even those who practiced it should have been compelled to see that it was ridiculous” (Wilson 4–5; emphasis added). Johnson’s belief that well-framed arguments can “compel” an audience to see things in a
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/199/image/coversmallJames Weldon Johnson and the End of Argument in The Autobiography of an Ex–Colored Man2026-04-21text/htmlen-USJames Weldon Johnson and the End of Argument in The Autobiography of an Ex–Colored Man2026-04-212026TWOProject MUSE®821002026-05-14T00:00:00-05:002026-04-21