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Making of the Victorian Novelist
This book examines a sequence of crises in nineteenth-century print culture and offers an original narrative of what it meant to be a Victorian novelist. Easily dismissed at the beginning of the century as hacks who pandered to the ignorant or indolent, novelists by the end of Victoria's reign could be esteemed among the greatest of artists. Between these extremes stretches a century of ideological contention between alternative representations of authorship. Deane brings new attention in his account to the trends in publishing and the expanding market surrounding Victorian literature, such as the new modes of production, arguments over copyright legislation, and revisions of the criteria of periodical criticism. Combining literary sociology and close readings, The Making of the Victorian Novelist offers an innovative history of the material pressures and rhetorical struggles that produced - and ultimately shattered - the Victorians' understanding of their great novelists.
The Self in the Cell
Michel Foucault's writing about the Panopticon in Discipline and Punish has dominated discussions of the prison and the novel, and recent literary criticism draws heavily from Foucauldian ideas about surveillance to analyze metaphorical forms of confinement: policing, detection, and public scrutiny and censure. But real Victorian prisons and the novels that portray them have few similarities to the Panopticon. Sean Grass provides a necessary alternative to Foucault by tracing the cultural history of the Victorian prison, and pointing to the tangible relations between Victorian confinement and the narrative production of the self. The Self in the Cell examines the ways in which separate confinement prisons, with their demand for autobiographical production, helped to provide an impetus and a model that guided novelists' explorations of the private self in Victorian fiction.
Satire and the Postcolonial Novel
Satire plays a prominent and often controversial role in postcolonial fiction. Satire and the Postcolonial Novel offers the first study of this topic, employing the insights of postcolonial comparative theories to revisit Western formulations of "satire" and the "satiric."
Strangers at Home
Strangers at Home reframes the way we conceive of the modernist literature that appeared in the period between the two world wars. This provocative work shows that a body of texts written by ethnic writers during this period poses a challenge to conventional notions of America and American modernism. By engaging with modernist literary studies from the perspectives of minority discourse, postcolonial studies, and postmodern theory, Rita Keresztesi questions the validity of modernism's claim to the neutrality of culture. She argues that literary modernism grew out of a prejudiced, racially biased, and often xenophobic historical context that necessitated a politically conservative and narrow ...
The Dangerous Potential of Reading
First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Ethnic Modernism and the Making of US Literary Multiculturalism
Ethnic Modernism and the Making of US Multiculturalism in which ethnic literary modernists of the 1930s play a crucial role. Focusing on the remarkable careers of four ethnic fiction writers of the 1930s (Younghill Kang, D'Arcy McNickle, Zora Neale Hurston, and Américo Paredes) Sorensen presents a new view of the history of multicultural literature in the U.S. The first part of the book situates these authors within the modernist era to provide an alternative, multicultural vision of American modernism. The second part examines the complex reception histories of these authors' works, showing how they have been claimed or rejected as ancestors for contemporary multiethnic writing. Combining the approaches of the new modernist studies and ethnic studies, the book.
The Other Empire
This book contributes to the body of postcolonial scholarship that explores the growth of imperial culture in the Romantic and early Victorian periods by focusing on the literary uses of the figure of the Turk and the Ottoman Empire. Filiz Turham analyzes Turkish Tales, novels, and travelogues from c. 1789-1846 to expose the three primary ways in which the Ottoman Other served as a strong counterimage of empire for both liberal and conservative writers. Through readings of such authors as Lord Byron, Percy Shelley, Mary Shelley and Elizabeth Craven the authors identifies the Ottoman Empire as a particularly flexible trope that could be presented as noth familiar or foreign, Same or Other in a way that reflected back onto England its own vexed attitude toward its imperial success.
Through the Negative
Examines how key nineteenth-century American writers attempted to combat, understand, and incorporate the advent of photography in their fiction and analyzes the impact of photography on narrative histories of the nineteenth century.
Out of Touch
Out of Touch investigates how skin has become a crucial but disavowed figure in twentieth-century literature, theory, and cultural criticism. These discourses reveal the extent to which skin figures in the cultural effect of changes in visual technologies, a development argued by critics to be at the heart of the contest between surface and depth and, by extension, Western globalization and identity politics. The skin has a complex history as a metaphorical terrain over which ideological wars are fought, identity is asserted through modification as in tattooing, and meaning is inscribed upon the human being. Yet even as interventions on the skin characterize much of this history, fantasy and science fiction literature and film trumpet skin's passing in the cybernetic age, and feminist theory calls for abandoning the skin as a hostile boundary.
Beyond the Sound Barrier
Beyond the Sound Barrier examines twentieth-century fictional representations of popular music-particularly jazz-in the fiction of James Weldon Johnson, F. Scott Fitzgerald, Langston Hughes, and Toni Morrison. Kristin K. Henson argues that an analysis of musical tropes in the work of these four authors suggests that cultural "mixing" constitutes one of the central preoccupations of modernist literature. Valuable for any reader interested in the intersections between American literature and the history of American popular music, Henson situates the literary use of popular music as a culturally amalgamated, boundary-crossing form of expression that reflects and defines modern American identities.
