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The Marxian Imagination is a fresh and innovative recasting of Marxist literary theory and a powerful account of the ways class is represented in literary texts.
Where earlier theorists have treated class as a fixed identity site, Markels sees class in more dynamic terms, as a process of accumulation involving many, often conflicting, sites of identity. Rather than examining the situations and characters explicitly identified in class terms, this makes it possible to see how racial and gender identities are caught up in the processes of accumulation that define class. Markels shows how a Marxian imagination is at work in a range of literary works, often written by non-Marxists.
In a field notorious for its difficulty, The Marxian Imagination is a remarkably accessible text. Its central arguments are constantly developed and tested against readings of important novels, ranging from Dickens's Hard Times to Barbara Kingsolver's Poisonwood Bible. It concludes with a telling critique of the work of the major Marxist literary theorists Raymond Williams and Fredric Jameson.
Analyzes Lezama's use of language and the cultural archive. Shows how the verbal experience in his work constitutes a theoretical reflection about how rhetoric and the imagination shape our conceptions of the world.
When the Swedish Academy announced that GA1/4nter Grass had been awarded the 1999 Nobel Prize for Literature, it singled out his first novel The Tin Drum (1959, English translation 1963) as a seminal work that had signaled the postwar rebirth of German letters, auguring "a new beginning after decades of linguistic and moral destruction." Nearly fifty years after its publication, the novel's significance has been generally acknowledged: it is the uncontested favorite among Grass's works of fiction on the part of reading public and critics alike, yet its canonical status tends to obscure the decidedly mixed and even hostile reactions it initially elicited. Along with The Tin Drum, Grass's impressive body of literary work since the 1950s has spawned a cottage industry of Grass criticism, making a reliable guide through the thicket of sometimes contradictory readings a definite desideratum. Siegfried Mews fills this lacuna in Grass scholarship by way of a detailed but succinct, descriptive as well as analytical and evaluative overview of the scholarship from 1959 to 2005. Grass's politically motivated interventions in public discourse have kept him highly visible, blurring the boundaries between politics and aesthetics. Mews therefore examines not only academic criticism but also the daily and weekly press (and other news media), providing additional insight into the reception of Grass's works. Siegfried Mews is Professor of German at the University of North Carolina at Chapel Hill.
The articles and their authors are: "Textual Criticism at the Millennium," G. Thomas Tanselle, Guggenheim Foundation; "David Foxon, Humanist Bibliographer," James McLaverty, Keele University; "'Armadillos of Invention': A Census of Mechanical Collators," Steven E. Smith, Texas A & M University; "Blackstone and Electronic Text," Michael Hancher, University of Minnesota; "Thoughts on the Authenticity of Electronic Texts," G. Thomas Tanselle, Guggenheim Foundation; "John Manningham's Diary and a Lost Whit-Sunday Sermon by Lancelot Andrewes," Paul J. Klemp, University of Wisconsin, Oshkosh; "A Funerall Elegye...not...by W. S. after all," Jill Farringdon; "A Qualitative Analysis of the London Book Trade, 1614-1618," David L. Gants, University of New Brunswick; "Fielding's Contributions to The Comedian (1732)," Martin Battestin, University of Virginia; "What Did Anna Barbauld Do to Samuel Richardson's Correspondence? A Study of Her Editing," William McCarthy, Iowa State University; "Form and Function in the English Eighteenth-Century Literary Edition: The Case of Edward Capell," Marcus Walsh, University of Birmingham; "This instance will not do": George Stevens and the Revision(s) of Johnson's Dictionary," Carter Hailey, Washington and Lee University; "Two New Pamphlets by William Godwin: A Case of Computer-Assisted Authorship Attribution," Pamela Clemit, University of Durham, and David Woolls, University of Birmingham; "A Bibliographical History of Thomas Howe's Critical Observations (1776-1807) and His Dispute with Joseph Priestley," David Chandler, Doshisha University; "The First Publication of Byron's "To the Po," Andrew M. Stauffer, Boston University; "Thomas De Quincey and the EdinburghSaturday Post of 1827," David Groves; "Joseph Conrad's Under Western Eyes: The Serials and First Editions," Roger Osborne, Australian Defence Academy; "Unrecorded Writings by G. K. Chesterton, H. G. Wells, Padraic Colum, Mary Colum, T. S. Eliot, George Bernard Shaw, and William Butler Yeats," Arthur Sherbo, Michigan State University.
Okopenko's portrayal of a young boy during the Hitler years begins at the end, with the collapse of the Nazi Reich, then works its way back to 1939. Told from the child's perspective, it paints a vivid picture of what it was like to grow up in a state where almost everything was seen in terms of National Socialist ideology. The basic mode of realistic narration is enriched with a wide variety of stylistic devices, ranging from diary entries, school essays, lists and dramatised dialogue to abrupt switches of perspective and poetic evocations of mood. The inclusion of a large number of authentic 'objects' -- for example, songs, jokes, posters and slogans -- helps to give the reader the flavour of the period. 'Child Nazi' is about childhood and adolescence, but it is also about childhood and adolescence at a time when even the most personal thoughts and feelings were manipulated by the ruling system to bind the rising generation to Nazism and its leaders.
Nineteenth-century German literature is seldom seen as rich in humor and irony, and women's writing from that period is perhaps even less likely to be seen as possessing those qualities. Yet since comedy is bound to societal norms, and humor and irony are recognized weapons of the weak against authority, what this innovative study reveals should not be surprising: women writers found much to laugh at in a bourgeois age when social constraints, particularly on women, were tight. Helen Chambers analyzes prose fiction by leading female writers of the day who prominently employ humor and irony. Arguing that humor and irony involve cognitive and rational processes, she highlights the inadequacy of binary theories of gender that classify the female as emotional and the male as rational. Chambers focuses on nine women writers: Annette von Droste-HA1/4lshoff, Ida Hahn-Hahn, Ottilie Wildermuth, Helene BAhlau, Marie von Ebner-Eschenbach, Ada Christen, Clara Viebig, Isolde Kurz, and Ricarda Huch. She uncovers a rich seam of unsuspected or forgotten variety, identifies fresh avenues of approach, and suggests a range of works that merit a place on university reading lists and attention in scholarly studies. Helen Chambers is Professor of German at the University of St Andrews, Scotland, UK.
Desire, virtue, courtesans (also known as sing-song girls), and the denizens of Shanghai's pleasure quarters are just some of the elements that constitute Han Bangqing's extraordinary novel of late imperial China. Han's richly textured, panoramic view of late-nineteenth-century Shanghai follows a range of characters from beautiful sing-song girls to lower-class prostitutes and from men in positions of social authority to criminals and ambitious young men recently arrived from the country. Considered one of the greatest works of Chinese fiction, "The Sing-song Girls of Shanghai" is now available for the first time in English.
Neither sentimental nor sensationalistic in its portrayal of courtesans and their male patrons, Han's work inquires into the moral and psychological consequences of desire. Han, himself a frequent habituA(c) of Shanghai brothels, reveals a world populated by lonely souls who seek consolation amid the pleasures and decadence of Shanghai's demimonde. He describes the romantic games played by sing-song girls to lure men, as well as the tragic consequences faced by those who unexpectedly fall in love with their customers. Han also tells the stories of male patrons who find themselves emotionally trapped between desire and their sense of propriety.
First published in 1892, and made into a film by Hou Hsiao-hsien in 1998, "The Sing-song Girls of Shanghai" is recognized as a pioneering work of Chinese fiction in its use of psychological realism and its infusion of modernist sensibilities into the traditional genre of courtesan fiction. The novel's stature has grown with the recent discovery of Eileen Chang's previously unknown translation, which was unearthedamong her papers at the University of Southern California. Chang, who lived in Shanghai until 1956 when she moved to California and began to write in English, is one of the most acclaimed Chinese writers of the twentieth century.
In this her last book, completed shortly before her death, Delbo becomes the living voice of memory, conjuring a series of poems and vignettes, dialogues and meditations that interweave her experience in the death camp with the suffering of others around the world who bear remembering. These scenes comprise a comprehensive picture of man's inhumanity to man (and woman) in our time, and of the power of human dignity, decency, and the hope to survive. Here are memories from the German concentration camps that have figured strongly in Delbo's previous writings, with them are images from the Second World War: sketches of the Polish partisans in Warsaw and the uprising in the Warsaw ghetto; and depictions of Parisian Jews rounded up by the French police, and of the Germans' slaughter of all the men in a Greek village. Delbo also recalls events in Greece and Spain that occurred decades after the war. She shows us the women of Buenos Aires assembled to remember and protest the disappearing of their fathers, husbands, and sons. And she appeals to memory on behalf of prisoners lost to Soviet gulags, the most forgotten of the forgotten. Dark, by turns stark and lyrical, dispassionate and fiery, Days and Memory compels our attention -- and rewards it with beauty, sorrow, and hope.
"Othello" is perhaps Shakespeare's most troublesome tragedy. While it has retained its popularity on the stage, many critics have struggled to come to terms with it. The Romantics warmed to the figure of Othello himself and wrung their hands over the plight of Desdemona; the Modernists looked down on the play as an achievement of Shakespeare's stagecraft rather than of his imagination.
Excerpting and discussing the critical history of the play from the earliest pronouncements to present-day criticism, this guide does justice to the variety of opinion and points out significant themes and recurring critical concerns, without glossing over the ugly racism of many critical accounts and the inadequacy of many attempts to face up to the issues raised by the play.
Charles Lutwidge Dodgson, ""Lewis Carroll,"" was not only the author of the beloved Alice tales but an inveterate and talented creator of puzzles and games in both the recreational mathematics and wordplay fields. Collected together for the first time in this book, his charming and humorous creations are no longer hidden in obscure Victorian magazines, rare antiquarian books, and sporadic, incomplete collections.This fully annotated volume features such delights as Carroll's word games Doublets (word ladders) and Syzygies (a more elaborate form of the word ladder), a board game called Lanrick, and other games and puzzles, including Circular Billiards, Castle Croquet, String Wrapped Round a Cube, Backgammon variations, Mirror Writing, Arithmetical Croquet, a Number Guessing Puzzle, and much more. The volume has been edited, annotated, and compiled by Christopher Morgan, who has added a section on modern-day puzzles inspired by Carroll, and features an introduction by Jeremiah Farrell. This is a fascinating and delightful collection for lovers of wordplay, puzzles, and the wit of Lewis Carroll.Distributed for the Lewis Carroll Society of North America.
Brahmanical Theories of the Gift constitutes the first critical edition and translation into any modern language of a dananibandha, a classical Hindu legal digest devoted to the culturally and religiously important topic of gifting. David Brick has included an extensive historical introduction to the text and its subject matter.
This study aims at delineating the cultural work of magical realism as a dominant narrative mode in postcolonial British fiction through a detailed analysis of four magical realist novels: Salman Rushdie's Midnight's Children (1981), Shashi Tharoor's The Great Indian Novel (1989), Ben Okri's The Famished Road (1991), and Syl Cheney-Coker's The Last Harmattan of Alusine Dunbar (1990). The main focus of attention lies on the ways in which the novelists in question have exploited the potentials of magical realism to represent their hybrid cultural and national identities. To provide the necessary historical context for the discussion, the author first traces the development of magical realism from its origins in European Painting to its appropriation into literature by European and Latin American writers and explores the contested definitions of magical realism and the critical questions surrounding them. He then proceeds to analyze the relationship between the paradigmatic turn that took place in postcolonial literatures in the 1980s and the concomitant rise of magical realism as the literary expression of Third World countries. .
Yi Ch' ng-Jun was born in 1939 and graduated from the department of German language and literature at Seoul National University in 1966. He has long been recognized as one of Korea's most prolific and demanding authors. Since his debut in 1965, he has enjoyed consistent critical and commercial success. His characters are ordinary people--writers, farmers, photographers and artisans--all struggling to survive in an increasingly materialistic and complicated society. They search for life's significance in the whirlwind change of modern Korea only to discover that the answers to their questions run deep beneath the surface of reality. This collection provides a cross-section of Yi's work, beginning with the haunting novella, The Falconer (1968) and ending with The Fire Worshipers, which won the National Literary Award from the Korean Culture and Arts Foundation in 1986.
The book focuses on the use of confessional mode in Daniel Defoe's Moll Flanders and Ihara Saikaku's The Life of an Amorous Woman, two works of fiction, which, although written in two different cultural contexts, bear a number of narrative similarities. Both works attempt to create trustworthy narrators and use realistic techniques of depiction while focusing on details and enumerating tangible objects. Both describe vividly and colourfully the milieu and the characters while embracing the contradictions of life and personality. Finally, both use a mode of confession, displaying 'what occurs in the individual mind under the impact of the temporal flux, ' which is a principle characteristic of the modern novel (Watt 22).The author delineates the development of narrative fiction in Japan and England (Chapter I), analyses the role of confession (or revelation) in the literary and cultural traditions of the two countries (Chapter II&III), and considers various intricacies of using confession as a narrative strategy in fiction (Chapter IV). The revelation of the narrators' past is accompanied by their conscious concealment of various details and by means of withholding certain information they succeed in attracting the attention of the audience and preparing a suitable setting for disclosure. Moreover, although Moll Flanders and the Amorous Woman, both experienced and advanced in years, yet sometimes showing naivety and ignorance characteristic of their childhood and youth, speak from the distance of time and place, they are entirely absorbed in their stories, frequently using the praesens historicum to emphasise the immediacy of what they narrate. The terms "novel" and "confession" are used in the book as broad categories, which enable - although not without reservations - a comparative reading of two works coming from two different backgrounds. The attempts to define the labels in the literary, historical and biographical contexts bring to the forefront not only the narrative traditions in England and Japan but also the present-day understanding of what the modern novel is.
Humor is the most celebrated of all Jewish responses to modernity. In this book, Ruth Wisse evokes and applauds the genius of spontaneous Jewish joking--as well as the brilliance of comic masterworks by writers like Heinrich Heine, Sholem Aleichem, Isaac Babel, S. Y. Agnon, Isaac Bashevis Singer, and Philip Roth. At the same time, Wisse draws attention to the precarious conditions that call Jewish humor into being--and the price it may exact from its practitioners and audience.
Wisse broadly traces modern Jewish humor around the world, teasing out its implications as she explores memorable and telling examples from German, Yiddish, English, Russian, and Hebrew. Among other topics, the book looks at how Jewish humor channeled Jewish learning and wordsmanship into new avenues of creativity, brought relief to liberal non-Jews in repressive societies, and enriched popular culture in the United States.
Even as it invites readers to consider the pleasures and profits of Jewish humor, the book asks difficult but fascinating questions: Can the excess and extreme self-ridicule of Jewish humor go too far and backfire in the process? And is "leave 'em laughing" the wisest motto for a people that others have intended to sweep off the stage of history?
This book, companion to the much-acclaimed Dalit Literatures in India, examines questions of aesthetics and literary representation in a wide range of Dalit literary texts. It looks at how Dalit literature, born from the struggle against social and political injustice, invokes the rich and complex legacy of oral, folk and performative traditions of marginalised voices. The essays and interviews systematically explore a range of literary forms, from autobiographies, memoirs and other testimonial narratives to poems, novels or short stories to foreground the diversity of Dalit creation. Showcasing the interplay between the aesthetic and political for a genre of writing that has `change' as its goal, the volume aims to make Dalit writing more accessible to a wider public, for the Dalit voices to be heard and understood. The volume also shows how the genre has revolutionised the concept of what literature is supposed to mean and define. Effervescent first-person accounts, socially militant activism and sharp critiques of a little explored literary terrain make this essential reading for scholars and researchers of social exclusion and discrimination studies, literature, especially comparative literature, translation studies, politics, human rights and culture studies.
Kim Ch'un-Su is one of the most original poets in modern Korean poetry. He was influenced by Rilke for a while, but embarked on a series of his own poetic experiments culminating in what he calls the poetry of meaning. An avowed purist, he would not believe in ideas, ideologies, or even history. His poems, in consequence, tend to present only moments of vivid sensations and fantasies refracted through his consciousness. Kim has won the Modern Korean Literature Translation Award and the Poetry Prize in Korea. This volume contains a selection of all the phases of Kim Chun-Su (made in terms of commmunicability and presentability).
A diverse new anthology that traces the meaning and magic of the sorcerer's apprentice tale throughout history "The Sorcerer's Apprentice" might conjure up images of Mickey Mouse from the Disney film Fantasia, or of Harry Potter. As this anthology reveals, however, "sorcerer's apprentice" tales--in which a young person rebels against, or complies with, an authority who holds the keys to magical powers--have been told through the centuries, in many languages and cultures, from classical times to today. This unique and beautifully illustrated book brings together more than fifty sorcerer's apprentice stories by a plethora of writers, including Ovid, Sir Walter Scott, and the Brothers Grimm. From Goethe's "The Pupil in Magic" to A. K. Ramanujan's "The Guru and His Disciple," this expansive collection presents variations of a classic passed down through countries and eras. Readers enter worlds where household objects are brought to life and shape-shifting occurs from human to animal and back again. We meet two types of apprentice: "The Humiliated Apprentice," a foolish bumbler who wields magic ineffectively and promotes obedience to authority; and "The Rebellious Apprentice" who, through ambition and transformative skills, promotes empowerment and self-awareness. In an extensive introduction, esteemed fairy-tale scholar Jack Zipes discusses the significance and meaning of the apprentice stories, the contradictions in popular retellings, and the importance of magic as a tool of resistance against figures who abuse their authority. Twenty specially commissioned black-and-white illustrations by noted artist Natalie Frank bring the stories to visual life. The Sorcerer's Apprentice enlightens and entertains readers with enduring, spellbinding tales of sorcery that have been with us through the ages.
The 500th anniversary of Thomas More's Utopia has directed attention toward the importance of utopianism. This book investigates the possibilities of cooperation between the humanities and the social sciences in the analysis of 20th century and contemporary utopian phenomena. The papers deal with major problems of interpreting utopias, the relationship of utopia and ideology, and the highly problematic issue as to whether utopia necessarily leads to dystopia. Besides reflecting the interdisciplinary nature of contemporary utopian investigations, the eleven essays effectively represent the constructive attitudes of utopian thought, a feature that not only defines late 20th- and 21st-century utopianism, but is one of the primary reasons behind the rising importance of the topic. The volume's originality and value lies not only in the innovative theoretical approaches proposed, but also in the practical application of the concept of utopia to a variety of phenomena which have been neglected in the utopian studies paradigm, especially to the rarely discussed Central European texts and ideologies.
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