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'It is scarcely possible to imagine a truly educated person who cannot read well. Yet it is not clear how or even if courses in literature actually work. How can teachers of English help students in their developmental journey toward becoming skillful readers and educated persons? This is the complex question that Chambers and Gregory address in Teaching and Learning English Literature. The authors consider practical matters such as course design and student assessment but do not shirk larger historical and theoretical issues. In a lucid and non-polemical fashion - and occasionally with welcome humor - Chambers and Gregory describe the what, why, and how of "doing" literature, often demonstrating the techniques they advocate. Veteran teachers will find the book rejuvenating, a stimulus to examining purposes and methods; beginning teachers may well find it indispensable' - Professor William Monroe, University of Houston 'The transatlantic cooperation of Ellie Chambers and Marshall Gregory has produced an outstanding book that ought to be on the shelves of anyone involved in the teaching of English Literature, as well as anyone engaged in the scholarship of teaching and learning in general or in any discipline. As they say, "the teaching of English Literature plays a central role in human beings' search for meaning" although others in other disciplines may make this claim for theirs too. If so, they will still learn a great deal from this book; anyone looking for no more than a means of satisfying the demands of governments that look for simplistic quality measures and economic relevance, let them look elsewhere. This is a book for now and for all times' - Professor Lewis Elton, Visiting Professor, University of Manchester, Honorary Professor, University College London This is the third in the series Teaching and Learning the Humanities in Higher Education. The book is for beginning and experienced teachers of literature in higher education. The authors present a comprehensive overview of teaching English literature, from setting teaching goals and syllabus-planning through to a range of student assessment strategies and methods of course or teacher evaluation and improvement. Particular attention is paid to different teaching methods, from the traditional classroom to newer collaborative work, distance education and uses of electronic technologies. All this is set in the context of present-day circumstances and agendas to help academics and those in training become more informed and better teachers of their subject. The book includes: - how literature as a discipline is currently understood and constituted - what it means to study and learn the subject - what 'good teaching' is, with fewer resources for teaching, larger student numbers, an emphasis on 'user-pay' principles and vocationalism. This is an essential text for teachers of English Literature in universities and colleges worldwide. The Teaching & Learning in the Humanities series, edited by Ellie Chambers and Jan Parker, is for beginning and experienced lecturers. It deals with all aspects of teaching individual arts and humanities subjects in higher education. Experienced teachers offer authoritative suggestions on how to become critically reflective about discipline-specific practices.
"Johnsonian Studies, 1887-1950 " was first published in 1951. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
"The American Writer and the European Tradition " was first published in 1950. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In a series of perceptive essays by twelve scholars this volume brings a fresh viewpoint to the study of American literature. From the colonial gentlemen-scholars to contemporary poets and novelists, the American writer is seen in relation to the cultural influences that flowed from Europe to America, intermingled with native tendencies, and then flowed from America to Europe.
Three themes bind the essays together: What was the American writer's original heritage of European ideas? What ideas, moods, manners in American writers were indigenous, or mostly so, to America? And finally, what has been the influence of American letters abroad?
In an age of social media and reality television, reading and consumption habits in India now demand homegrown pulp fictions. Ulka Anjaria categorizes post-2000 Indian literature and popular culture as constituting "the contemporary," a movement defined by new and experimental forms-where high- and low-brow meet, and genres break down. Reading India Now studies the implications of this developing trend as both the right-wing resurges and marginalized voices find expression. Anjaria explores the fiction of Chetan Bhagat and Anuja Chauhan as well as Aamir Khan's television talk show, Satyamev Jayate, plus the work of documentarian Paromita Vohra, to argue how different kinds of texts are involved in imagining new political futures for an India in transition. Contemporary literature and popular culture in India might seem artless and capitalistic, but it is precisely its openness to the world outside that allows these new works to offer significant insight into the experiences and sensibilities of contemporary India.
The response to Nancy Pearl's surprise bestseller Book Lust was astounding: the Seattle librarian even became the model for the now-famous Librarian Action Figure. Readers everywhere welcomed Pearl's encyclopedic but discerning filter on books worth reading, and her Rule of 50 (give a book 50 pages before deciding whether to continue; but readers over 50 must read the same number of pages as their age) became a standard MO.
Hogarth's Literary Relationships was first published in 1948. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.Hogarth's narrative drawings--A Harlot's Progress, A Rake's Progress, Marriage a la Mode -- have long been the delight of devotees of the eighteenth century. Although the relationship between Hogarth and the writers of the period has not passed unnoticed, it has never been analyzed in detail before.In this engaging book Mr. Moore points out specific instances of the manifest obligations owed by Fielding and Smollett (and several minor contemporary novelists and dramatists) to Hogarth. He amply proves his two theses: that Hogarth was a fountain of literary inspiration and that appreciation of the artist as a satirist is essential to an understanding of eighteenth-century literature.From the beginning of his career Hogarth was constantly imitated and plagiarized, and the illustrations in this volume include some of the more famous plagiaries. Hogarth's own work is too little known to present generation--no complete collection has been available for some hundred years -- and the drawings reproduced in this book add greatly to its value.
This study examines the genesis of Chicago's two identified literary renaissance periods (1890-1920 and 1930-1950) through the writings of Dreiser, Hughes, Wright, and Farrell. The relationship of these four writers demonstrates a continuity of thought between the two renaissance periods. By noting the affinities of these writers, patterns such as the rise of the city novel, the development of urban realism, and the shift to modernism are identified as significant connections between the two periods. Although Dreiser, Wright, and Farrell are more commonly thought of as Chicago writers, this study argues that Langston Hughes is a transitional, pivotal figure between the two periods. Through close readings and contextualization, the influence of Chicago writing on American literature--in such areas as realism and naturalism, as well as proletarian and ethnic fiction--becomes apparent.
First published in 1966, the Language of Criticism was the first systematic attempt to understand literary criticism through the methods of linguistic philosophy and the later work of Wittgenstein. Literary critical and aesthetic judgements are rational, but are not to be explained by scientific methods. Criticism discovers reasons for a response, rather than causes, and is a rational procedure, rather than the expression of simply subjective taste, or of ideology, or of the power relations of society.
The book aims at a philosophical justification of the tradition of practical criticism that runs from Matthew Arnold, through T.S.Eliot to I.A.Richards, William Empson, F.R.Leavis and the American New Critics. It argues that the close reading of texts moves justifiably from text to world, from aesthetic to ethical valuation. In this it differs radically from the schools of "theory" that have recently dominated the humanities.
Lynda Mugglestone's hugely popular The Oxford History of English is now updated and entirely reset in a new edition featuring David Crystal's new take on the future of English in the wider world. In accounts made vivid with examples from a vast range of documentary evidence that includes letters, diaries, and private records, fifteen scholars trace the history of English from its ancient Indo-European origins to the present. They cover the language's versions, written and spoken, revel in its rich variety over fifteen centuries, and chart its varied progress nationally, regionally, and throughout the world. With scholarship at once impeccable and approachable, the authors describe and explain the constantly changing sounds, words, meanings, and grammar of English. This is a book for everyone interested in the language, present and past.
This book examines the connections between two disparate yet persistently bound thematics -- mobility and intoxication -- and explores their central yet frequently misunderstood role in constructing subjectivity following the 1960s. Emerging from profound mid-twentieth-century changes in how drugs and travel were imagined, the conceptual nexus discussed sheds new light on British and North American responses to sixties counterculture. With readings of Aldous Huxley, William Burroughs, Alex Garland, Hunter S. Thompson, and Robert Sedlack, Banco traces twin arguments, looking at the ways travel is imagined as a disciplinary force acting upon the creative, destabilizing powers of psychedelic intoxication; and exploring the ways drugs help construct travel spaces and practices as, at times, revolutionary, and at other times, neo-colonial. By following a sequence of shifting understandings of drug and travel orthodoxies, this book traverses fraught and irresistibly linked terrains from the late 1950s up to a period marked by international, postmodern tourism. As such, it helps illuminate a world where tourism is continually expanding yet constantly circumscribed, and where illegal drugs are both increasingly unregulated in the global economy and perceived more and more as crucial agents in the construction of human subjectivity.
"Canadian Women in Print, 1750--1918" is the first historical examination of women's engagement with multiple aspects of print over some two hundred years, from the settlers who wrote diaries and letters to the New Women who argued for ballots and equal rights. Considering women's published writing as an intervention in the public sphere of national and material print culture, this book uses approaches from book history to address the working and living conditions of women who wrote in many genres and for many reasons.
This study situates English Canadian authors within an extensive framework that includes francophone writers as well as women's work as compositors, bookbinders, and interveners in public access to print. Literary authorship is shown to be one point on a spectrum that ranges from missionary writing, temperance advocacy, and educational texts to journalism and travel accounts by New Woman adventurers. Familiar figures such as Susanna Moodie, L.M. Montgomery, Nellie McClung, Pauline Johnson, and Sara Jeannette Duncan are contextualized by writers whose names are less well known (such as Madge Macbeth and Agnes Laut) and by many others whose writings and biographies have vanished into the recesses of history.
Readers will learn of the surprising range of writing and publishing performed by early Canadian women under various ideological, biographical, and cultural motivations and circumstances. Some expressed reluctance while others eagerly sought literary careers. Together they did much more to shape Canada's cultural history than has heretofore been recognized.
Bhakti, a term ubiquitous in the religious life of South Asia, has meanings that shift dramatically according to context and sentiment. Sometimes translated as "personal devotion," bhakti nonetheless implies and fosters public interaction. It is often associated with the marginalized voices of women and lower castes, yet it has also played a role in perpetuating injustice. Barriers have been torn down in the name of bhakti, while others have been built simultaneously. Bhakti and Power provides an accessible entry into key debates around issues such as these, presenting voices and vignettes from the sixth century to the present and from many parts of India's cultural landscape. Written by a wide range of engaged scholars, this volume showcases one of the most influential concepts in Indian history-still a major force in the present day.
Mari Sandoz, born on Mirage Flats, south of Hay Springs, Nebraska, on May 11, 1896, was the eldest daughter of Swiss immigrants. She experienced firsthand the difficulties and pleasures of the family's remote plains existence and early on developed a strong desire to write. Her keen eye for detail combined with meticulous research enabled her to become one of the most valued authorities of her time on the history of the plains and the culture of Native Americans. Women in the Writings of Mari Sandoz is the first volume of the Sandoz Studies series, a collection of thematically grouped essays that feature writing by and about Mari Sandoz and her work. When Sandoz wrote about the women she knew and studied, she did not shy away from drawing attention to the sacrifices, hardships, and disappointments they endured to forge a life in the harsh plains environment. But she also wrote about moments of joy, friendship, and-for some-a connection to the land that encouraged them to carry on. The scholarly essays and writings of Sandoz contained in this book help place her work into broader contexts, enriching our understanding of her as an author and as a woman deeply connected to the Sandhills of Nebraska.
Tattoos in crime and detective narratives examines representations of the tattoo and tattooing in literature, television and film, from two periods of tattoo renaissance (1851-1914, and c1955 to present). It makes an original contribution to understandings of crime and detective genre and the ways in which tattoos act as a mimetic device that marks and remarks these narratives in complex ways. With a focus on tattooing as a bodily narrative, the book incorporates the critical perspectives of posthumanism, spatiality, postcolonialism, embodiment and gender studies. The grouped essays examine the first tattoo renaissance, the rebirth of the tattoo in contemporary culture through literature, children's literature, film and television. The collection has a broad appeal, and will be of interest to all literature and media scholars, but in particular those with an interest in crime and detective narratives and skin studies. -- .
This sharp, witty study of a book never written, a sequel to Walter Benjamin's Arcades Project, is dedicated to New York City, capital of the twentieth century. A sui generis work of experimental scholarship or fictional philosophy, it analyzes an imaginary manuscript composed by a ghost. Part sprawling literary montage, part fragmentary theory of modernity, part implosive manifesto on the urban revolution, The Manhattan Project offers readers New York as a landscape built of sheer life. It initiates them into a world of secret affinities between photography and graffiti, pragmatism and minimalism, Andy Warhol and Robert Moses, Hannah Arendt and Jane Jacobs, the flaneur and the homeless person, the collector and the hoarder, the glass-covered arcade and the bare, concrete street. These and many other threads can all be spooled back into one realization: for far too long, we have busied ourselves with thinking about ways to change the city; it is about time we let the city change the way we think.
This volume discusses The Thousand and One Nights' themes of space and travel showing how they are used not only as a setting in which the story unfolds, but also as the dynamic force which propels the heroes and the story to the final denouement.
These events often symbolize a process of transformation, in which the hero has to search for his destined role or strive to attain the object of his desire. In this way, themes of travel are the narrative backbone of stories of various genres including love, religion, magic and adventure.
This book not only gives a fresh approach to many stories of the collection, but also proposes new insights in the nature of The Thousand and one Nights as a self-reflexive narrative and is essential reading for scholars of Arabic literature.
A Life Adrift, the memoir of balladeer-political activist Soeda Azembo (1872-1944), chronicles his life as one of Japan's first modern mass entertainers and imparts an understanding of how ordinary people experienced and accommodated the tumult of life in prewar Japan. Azembo created enka songs sung by tenant farmers in rural hinterlands and factory hands in Tokyo and Osaka. Although his work is still largely unknown outside Japan, his poems and lyrics were so well known at his career's peak that a single verse served as shorthand expressing popular attitudes about political corruption, sex scandals, spiralling prices, war, and love of motherland. As these categories attest, he embedded in his songs contemporary views on class conflict, gender relations, and racial attitudes toward international rivals. Ordinary people valued Azembo's music because it was of them and for them. They also appreciated it for being distinctively modern and home-grown, qualities rare among the cultural innovations that flooded into Japan from the mid-nineteenth century. A Life Adrift stands out as the only memoir of its kind, one written first-hand by a leader in the world of enka singing.
In the work of writer Abe Kobo (1924-1993), characters are alienated both from themselves and from one another. Through close readings of Abe's work, Richard Calichman reveals how time and writing have the ability to unground identity. Over time, attempts to create unity of self cause alienation, despite government attempts to convince people to form communities (and nations) to recapture a sense of wholeness. Art, then, must resist the nation-state and expose its false ideologies. Calichman argues that Abe's attack on the concept of national affiliation has been neglected through his inscription as a writer of Japanese literature. At the same time, the institution of Japan Studies works to tighten the bond between nation-state and individual subject. Through Abe's essays and short stories, he shows how the formation of community is constantly displaced by the notions of time and writing. Beyond Nation thus analyzes the elements of Orientalism, culturalism, and racism that often underlie the appeal to collective Japanese identity.
Over the last twenty years, Native American literary studies has taken a sharp political turn. In this book, Matthew Herman provides the historical framework for this shift and examines the key moments in the movement away from cultural analyses toward more politically inflected and motivated perspectives. He highlights such notable cases as the prevailing readings of the popular within Native American writing; the Silko-Erdrich controversy; the ongoing debate over the comparative value of nationalism versus cosmopolitanism within Native American literature and politics; and the status of native nationalism in relation to recent critiques of the nation coming from postmodernism, postcolonialism, and subaltern studies. Herman concludes that the central problematic defining the last two decades of Native American literary studies has involved the emergence in theory of anti-colonial nationalism, its variants, and its contradictions. This study will be a necessary addition for students and scholars of Native American Studies as well as 20th-century literature.
Through a reading of periodicals, memoirs, speeches, and fiction from the antebellum period to the Harlem Renaissance, this study re-examines various myths about a U.S. progressive history and about an African American counter history in terms of race, democracy, and citizenship. Reframing 19th century and early 20th-century African-American cultural history from the borderlands of the U.S. empire where many African Americans lived, worked and sought refuge, Knadler argues that these writers developed a complicated and layered transnational and creolized political consciousness that challenged dominant ideas of the nation and citizenship. Writing from multicultural contact zones, these writers forged a "new black politics" one that anticipated the current debate about national identity and citizenship in a twenty-first century global society. As Knadler argues, they defined, created, and deployed an alternative political language to re-imagine U.S. citizenship and its related ideas of national belonging, patriotism, natural rights, and democratic agency.
Looks at the return of the sublime in post-modernity, and at intimations of a 'post-Romantic' sublime in Romanticism itself. The sublime is explored as a discourse of 'invention' -- taking the Latin meaning of to 'come upon', 'find', 'discover' that involves an encounter with the new, the unregulated and the surprising. Lyotard and Zizek, among others, have reconfigured the sublime for post-modernity by exceeding the subject-centred discourse of Romantic aesthetics, and promoting not a sublime of the subject, but of the unpresentable, the 'Real', the unknown, the other. 'Reinventing the Sublime' looks at 18th-century, Romantic, modernist and post-modern 'inventions' of the sublime alongside contemporary critical accounts of the relationship of sublimity to subjectivity, aesthetics, politics and history, including '9/11'. It reads Burke and Kant alongside post-modern discourses on the sublime, and Wordsworth, De Quincey and Mary Shelley in relation to temporality and materiality in Romanticism, and considers 'modernist' inflections of the sublime in T.S. Eliot, Virginia Woolf and Djuna Barnes in relation to the themes of disjunction and excess in modernity. The author examines the postmodern revisiting of the sublime in Thomas Pynchon, D.M Thomas and Toni Morrison, and draws on Lyotard's reading of the sublime as an aesthetic of the avant-garde and as a singular and disruptive 'event', to argue that the sublime in its post-modern and contemporary forms encodes an anxious but affirmative relationship to the ironies of temporality and history. 'Reinventing the Sublime' focuses on the endurance of the sublime in contemporary thinking, and on the way that the sublime can be read as a figure of the relationship of representation to temporality itself.
Transcolonial Maghreb offers the first thorough analysis of the ways in which Moroccan, Algerian, and Tunisian writers have engaged with the Palestinian question and the Palestinian-Israeli conflict for the past fifty years. Arguing that Palestine has become the figure par excellence of the colonial in the purportedly postcolonial present, the book reframes the field of Maghrebi studies to account for transversal political and aesthetic exchanges across North Africa and the Middle East. Olivia C. Harrison examines and contextualizes writings by the likes of Abdellatif Laabi, Kateb Yacine, Ahlam Mosteghanemi, Albert Memmi, Abdelkebir Khatibi, Jacques Derrida, and Edmond El Maleh, covering a wide range of materials that are, for the most part, unavailable in English translation: popular theater, literary magazines, television series, feminist texts, novels, essays, unpublished manuscripts, letters, and pamphlets written in the three main languages of the Maghreb-Arabic, French, and Berber. The result has wide implications for the study of transcolonial relations across the Global South.
Souffles-Anfas: A Critical Anthology from the Moroccan Journal of Culture and Politics introduces and makes available, for the first time in English, an incandescent corpus of experimental leftist writing from North Africa. Founded in 1966 by Abdellatif Laabi and a small group of avant-garde Moroccan poets and artists and banned in 1972, Souffles-Anfas was one of the most influential literary, cultural, and political reviews to emerge in postcolonial North Africa. An early forum for tricontinental postcolonial thought and writing, the journal published texts ranging from experimental poems, literary manifestos, and abstract art to political tracts, open letters, and interviews by contributors from the Maghreb, the Middle East, Africa, Europe, and the Americas. The essays, poems, and artwork included in this anthology-by the likes of Abdelkebir Khatibi, Tahar Ben Jelloun, Albert Memmi, Etel Adnan, Sembene Ousmane, Rene Depestre, and Mohamed Melehi-offer a unique window into the political and artistic imaginaries of writers and intellectuals from the Global South, and resonate with particular acuity in the wake of the Arab Spring. A critical introduction and section headnotes make this collection the perfect companion for courses in postcolonial theory, world literature, and poetry in translation.
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