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Caught in the Act
In Caught in the Act, Joseph Litvak reveals not only the surprising wealth of theatrical themes in the canonical nineteenth-century English novel, but also the complex and over-determined politics of this theatricality. Nineteenth-century fiction is typically understood as enshrining the bourgeois values of privacy, domesticity, subjectivity, and sincerity. But Litvak demonstrates that private experience in the novels of Jane Austen, Charlotte Bronte, George Eliot, and Henry James is in fact a rigorous enactment of a public script that constructs normative gender and class identities. These novels also display extravagant theatrical forms like travesty, transvestism, charade, and carnival. T...
Strange Gourmets
Though commonly thought of as a kind of worldliness at its best and an elitist snobbery at its worst, sophistication, Joseph Litvak reminds us, remains tied to its earlier, if forgotten, meaning of "perversion"--which encompassed homosexuality and intellectualism. Litvak's strategy is to reveal culture as a contest of sophistications in which the winners are often those who best disguise their sophistication.
Jane Austen's Emma
This sourcebook introduces not only Jane Austen's text, but also the literary and historical contexts and the many different critical readings that it has generated, from the time of its publication to the twenty-first century.
Victorian Vulgarity
Originally describing language use and class position, vulgarity became, over the course of the nineteenth century, a word with wider social implications. Variously associated with behavior, the possession of wealth, different races, sexuality and gender, the objects displayed in homes, and ways of thinking and feeling, vulgarity suggested matters of style, taste, and comportment. This collection examines the diverse ramifications of vulgarity in the four areas where it was most discussed in the nineteenth century: language use, changing social spaces, the emerging middle classes, and visual art. Exploring the dynamics of the term as revealed in dictionaries and grammars; Mayhew's London Labour and the London Poor; fiction by Dickens, Eliot, Gissing, and Trollope; essays, journalism, art, and art reviews, the contributors bring their formidable analytical skills to bear on this enticing and divisive concept. Taken together, these essays urge readers to consider the implications of vulgarity's troubled history for today's writers, critics, and artists.
Homographesis
First Published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.
UN-AMERICANS;JEWS, THE BLACKLIST, AND STOOLPIGEON CULTURE
Joseph Litvak shows how Jewish assimilation into American culture during the 'blacklist period' was characterized by demands to be a stoolpigeon, or to become an informer.
Place for Us
In Place for Us, D. A. Miller probes what all the jokes laugh off: the embarrassingly mutual affinity between a "general" cultural form and the despised "minority" that was in fact that form's implicit audience.
Novel Gazing
DIVThis is the first collection of queer criticism on the history of the novel. Eve Sedgwick has brought together contributors to navigate this new terrritory through discussions of a wide range of British, French, and American novels--including canonical/div
The Un-Americans
In a bold rethinking of the Hollywood blacklist and McCarthyite America, Joseph Litvak reveals a political regime that did not end with the 1950s or even with the Cold War: a regime of compulsory sycophancy, in which the good citizen is an informer, ready to denounce anyone who will not play the part of the earnest, patriotic American. While many scholars have noted the anti-Semitism underlying the House Un-American Activities Committee’s (HUAC’s) anti-Communism, Litvak draws on the work of Theodor W. Adorno, Hannah Arendt, Alain Badiou, and Max Horkheimer to show how the committee conflated Jewishness with what he calls “comic cosmopolitanism,” an intolerably seductive happiness, ce...
The House, the World, and the Theatre
The House, the World, and the Theatre departs from three ideologically resonant spatial metaphors to explore key aspects of nineteenth-century literature and culture. At the centre of the discussion is the way authors fashioned themselves to cater to ever-expanding audiences and to the new conditions of publishing. The prefaces of Hawthorne, Dickens, and James illustrate the conflicts underlying the new forms of self-definition in the nineteenth century and mediate the perception of authorship as a category that blurs the boundaries between social life and performance. This book combines genre criticism, new historicism, literary history, and contemporary perspectives in readings that show the imaginative quality of prefatory writing and the enduring relevance of canonical authors in the twenty-first century.
