Journal articles on the topic 'War poetry, English – History and criticism'
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1
Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.
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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.
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Muttaleb, Fuad Abdul. "The Anti-War Poetry of Herbert Read: “Kneeshaw Goes to War” as an Example." World Journal of English Language 12, no. 5 (June 16, 2022): 334. http://dx.doi.org/10.5430/wjel.v12n5p334.
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This study aims at investigating the nature of the anti-war poetry of the English poet, Sir Herbert Read (1893 -1968). First, it surveys the different styles that the anti-war poets followed in their criticism of war in an attempt to figure out afterwards the characteristics that distinguish Read’s anti-war poetry from other poetry. It then presents the main features of Read’s anti-war poetry. The study moves on to examine its main objective that lies in analyzing Read’s poem “Kneeshaw Goes to War” (1918) as an example of his own anti-war poetry. This thematic study follows a descriptive and analytical method in carrying out its aim. It starts with an introduction about the different modes of war poetry and literature review, develops into a discussion of Read’s attitude towards the poem’s main subject and comes to an end with the main findings in the conclusion. Read was able to use a realistic approach in his criticism of war in his poem “kneeshaw Goes to War”. In his portrayal of the destructiveness of war, he managed to expressionistically convey his sense of despair that the war had generated in the individual’s personal experience with war. The representation of human experience is thus as important as the anti-war theme itself in the poem.
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Armstrong, Isobel. "The First Post: Victorian Poetry and Post-War Criticism." Journal of Victorian Culture 8, no. 2 (January 2003): 292–304. http://dx.doi.org/10.3366/jvc.2003.8.2.292.
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Carlson, David R. "Erasmus and the War-Poets in 1513." Erasmus Studies 34, no. 1 (2014): 5–49. http://dx.doi.org/10.1163/18749275-03401004.
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During Erasmus’ English residence 1509–1514, Henry viii invaded France, as part of the “Holy League,” and, in the English king’s absence, England was attacked by Scotland. The events engendered a great quantity of poetry, as well as other writing: analyzed herein particularly are the verse contributions of Erasmus himself, his amicus Andrea Ammonio, Pietro Carmeliano, Camillo Paleotti, and Bernard André (the poems of these last two being edited and translated in appendices). This poetry in its context of events, both literary and political, influenced the anti-war writings that Erasmus was conceiving at the time, though he only published them later.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Ribeiro S C Thomaz, Julia. ""Knowing you will understand”: The Usage of Poetry as a Historical Source about the Experience of the First World War." Revista Alicantina de Estudios Ingleses, no. 31 (December 15, 2018): 109. http://dx.doi.org/10.14198/raei.2018.31.07.
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For the last century, historians of the conflict have not systematically used the poetry of the First World War as a source. Whether reduced to a canon established a posteriori or excluded from literary periodisation altogether, this corpus needs to be considered from a transdisciplinary perspective and be used as a document about the experience of war itself, and not just about the conflict’s remembrance. The present article aims to present the French and British landscape of research about the poetry of the Great War and to establish a theoretical framework combining literary history, anthropology, literary criticism, and linguistics, which will allow for the usage of poetry as a historical source. Finally, the article will discuss two digital humanities projects which draw upon the Centenary to contribute to the establishment of a relation between History and Poetics in the context of the sources available to the cultural historian looking at how individuals internalised a culture shared by all those who experienced the war and at how the poetic gesture shaped the experience of war itself.
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Huisman, Rosemary. "Facing the Eternal Desert: Sociotemporal Values in Old English Poetry." KronoScope 17, no. 2 (September 6, 2017): 231–53. http://dx.doi.org/10.1163/15685241-12341385.
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Abstract Time is a singular noun, but includes a multiplicity of temporalities, including what J. T. Fraser has termed sociotemporality. In this paper, I discuss facing the urgency of time in a narrative dominated by sociotemporality, that of the Old English poem Beowulf, and suggest how criticism of the narrative structure of Beowulf has derived from a monovalent understanding of narrative time. Moreover, in recognizing sociotemporality as dominant in the organization of the poem, the modern reader can gain greater access to what was valued in the social context of its response to “the urgency of time.”
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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (December 9, 2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.
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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.
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Deair, Raghad Shakir. "Fadwa Tuqan's Anti-War Poetry: A Cry against Zionism." Galore International Journal of Applied Sciences and Humanities 6, no. 1 (May 10, 2022): 44–52. http://dx.doi.org/10.52403/gijash.20220107.
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Modern Palestinian resistance poetry has, since the late 19th century, been an expression of the national culture of the Palestinian people and their historic self-determination and homeland battle. This study explores Palestinian poetry of Resistance written for the ten years after the June 1967 War that triple the territory of the State of Israel. The popular Palestinian poet, Fadwa Tuqan, has been translated into English, with commentaries on Palestinian history before 1967 and on the occupation of Palestine after 1977. Her poetry is a mirror to the historical struggle against Zionism. Through this study of the historical context of Palestinian resistance Fadwa Tuqan's poetry, readers can gain a deeper understanding of the ties between Palestinian national culture and their struggle for homeland. Keywords: resistance poetry, diaspora, Fadwa Tuqan, exile, attachment to the land, loss and hope.
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Sarah Lee, Sze Wah. "Anglo-French Poetic Exchanges in the Little Magazines, 1908–1914." Modernist Cultures 16, no. 3 (August 2021): 340–66. http://dx.doi.org/10.3366/mod.2021.0338.
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This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.
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Hibbitt, Richard, and Berkan Ulu. "Double palimpsest: History and myth in the poetry of the Gallipoli campaign." Journal of European Studies 51, no. 3-4 (November 2021): 273–91. http://dx.doi.org/10.1177/00472441211033411.
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The Ottoman defeat of the British and French imperial forces during the Gallipoli campaign of 1915, known in Turkish as the Çanakkale Wars, had already shown how the theatres of war would extend beyond Europe. While much of the poetry in English that came from Gallipoli is well known in the Anglophone world, the Turkish poetry from Çanakkale is less well known outside Turkey itself. This article analyses selected Gallipoli poems written in both languages in order to show how they had similar recourse to overlapping narratives of history and myth in their efforts to place the experience of war within a wider transhistorical and transcultural framework. By reflecting on the different uses of this double palimpsest, it aims to show how a transnational and transcultural approach to memorial culture can develop our understanding of how the Great War was written.
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Indira Utojo, Hertin, and Oom Rohmah Syamsudin. "The Meaning of Survival in the Poetry of Jacob Isaac, and its Semantics Learning Implementation." INFERENCE: Journal of English Language Teaching 5, no. 2 (December 14, 2022): 170. http://dx.doi.org/10.30998/inference.v5i2.10736.
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<p>The social, political, and economy atmosphere of a country often evokes the desire of literary activists to express their imagination, feelings, ideology in the form of social, political and cultural criticism through art, including poetry. Likewise, Jacob Isaac, a Bachelor and Master of Arts, as well as Doctor of English Literature, who was born in Kerala, South India, expresses imagination, feelings, ideology by creating the English poetry. In this research, the research writer chose three poetry written by Jacob Isaac as data sources entitled Indifference, Neural Mapping, Aging Liberty. The objective of this research is to describe the meaning of (1) survival in the above poetry; and (2) its implementation in English semantics learning. The research writer uses a qualitative research method and triadic semiotic model of Charles Sanders Peirce, consists of (1) representamen consists of rhyme form and sound, syntactic, semantic, pragmatic relates to deixis, figurative and isotopy aspects); (2) interpretant consists of the biography of Jacob Isaac, history of India, social, political and cultural background aspects). The goal using interpretant is in order to get the research results more objective. This research was conducted from March to May 2021.</p>
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Szmeskó, Gábor. "The History of the Poetic Mind of János Pilinszky." Hungarian Cultural Studies 13 (July 30, 2020): 98–110. http://dx.doi.org/10.5195/ahea.2020.390.
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One of the most important poets of postwar Hungarian literature, János Pilinszky’s (1921-1981) poetry represents the problems of connecting with the Other, the imprints of Second World War trauma and the struggle with God’s distance and silence. Although, unlike the case of most of his contemporaries in Eastern bloc Hungary, his poetry has been translated into several languages, he is hardly known in English-speaking countries. The metaphysically accented lyrical worldview and creator-centered aesthetics—which shows parallels with the Christian poetry of Michael Edwards—of this Hungarian poet are difficult to link or to bring into discourse. On the occasion of the most recent publication (Pilinszky 2019) of Pilinszky’s non-literary publications which are practically unknown to non-Hungarian scholars, I attempt to outline the major attributes of Pilinszky’s poetry and aesthetics in order to highlight—with a mystical approach in mind—the intertwining presence of said lyre and aesthetics in his poem, In memoriam F. M. Dosztojevszkij [‘In Memoriam F. M. Dostoevsky’].
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Đerić, Gordana. "Social memory and applied criticism: On turning poetry into an ideological beating stick." Issues in Ethnology and Anthropology 4, no. 1 (June 18, 2009): 63–85. http://dx.doi.org/10.21301/eap.v4i1.3.
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The subject of this text is the social memory, which the author understands as the consequence of complex relationships of modern politics, history and cultural production in the broadest sense. As for the majority of authors who engage in social memory, for her this phenomenon is inseparable from the process of creating a nation, as well. In the context of creating a nation in Eastern Europe the conditionality of these phenomena is recognized through the specific part that the language and literature played in those processes. Therefore, in this region, the hierarchy of power reflected itself always, maybe more prominently than anywhere else, in the filed of controlling the social memory, and particularly in controlling the interpretation of old literary works. Further more, the power in that field visibly affirmed itself. By connecting her research to Yugoslavian nation, the period immediately after the World War Two and the function of literary criticism in establishing the Yugoslavian canon for the interpretation of the past, the author examines in this text on of the ways of shaping the social memory in the time of active creation of the Yugoslavian nation. The focus of research is on the social conditionality of constructing memory from the political anticipation of contemporary and future needs of the society. By re-examining the thesis of social memory as an expression of the state’s aspiration to explain to the nation its past and to adjust it to current needs, the author in her research follows the after-war reinterpretation of several classic authors who entered the Yugoslavian canon of interpreting the past.
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Mehl, Scott. "Early Twentieth-Century Terms for New Verse Forms (‘free verse’ and others) in Japanese and Arabic." Studia Metrica et Poetica 2, no. 1 (July 7, 2015): 81–106. http://dx.doi.org/10.12697/smp.2015.2.1.04.
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In the first half of the twentieth century, when Japanese and Arabic poets began writing free-verse poetry, many terms were proposed as labels for the new form. In addition to the calques on “free verse,” neologisms were created to name the new poetry. What is striking is that, in these two quite different literary spheres, a number of the proposed neologisms were the same: for example, in both Japanese and Arabic the terms prose poetry, modern poetry, and colloquial poetry were proposed (among others) as alternatives to the label free poetry. This essay provides an annotated list of the neologisms in Japanese and Arabic, with a list of English terms for comparison; and by referring to the contemporary Japanese and Arabic criticism on the topic of poetic innovation, this essay attempts to explain the similarity between the Japanese and Arabic neologisms. In short, the Japanese and Arabophone arguments in favour of adapting the free-verse form were based on similar premises regarding modernity, freedom, and a vision of literary history that was rooted in an evolutionary theory of genre development.
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Herman, Peter C. "Early English Protestantism and Renaissance Poetics: The Charge is Committing Fiction in the Matter of Rastell v. Frith." Renaissance and Reformation 30, no. 1 (January 21, 2009): 5–18. http://dx.doi.org/10.33137/rr.v30i1.11476.
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The debate between John Rastell and John Frith constitutes a previously unrecognized ancestor to Stephen Gosson's attack on poetry and Sir Philip Sidney's (problematic) defense of it. Although the nominal aim of Rastell's A Newe Boke of Purgatorye and Frith's A Disputation of Purgatory is theological disputation, in fact these texts constitute an implicit defense of and attack on fictions. Consequently, they form an important background for the Elizabethan and Jacobean "war against poetry."
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Nikhilesh, Nikhilesh. "Critical Assessment of Poetry of Philip Larkin." International Journal of English Literature and Social Sciences 7, no. 6 (2022): 200–205. http://dx.doi.org/10.22161/ijels.76.28.
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In the year 1922, Philip Larkin was born in Coventry, which is located in England. In addition to finishing with First Class Honors in English, he received his Bachelor of Arts degree from St. John's College, Oxford, where he also became friends with the author and poet Kingsley Amis. After completing his undergraduate degree, Larkin went on to pursue professional courses in order to become a librarian. He began his career in Shropshire and Leicester, continued it at Queen's College in Belfast, and ended it as the librarian at the University of Hull. He worked in libraries the whole of his life. Not only did Larkin produce volumes of poetry, but he also wrote and published two novels, Jill (1946) and A Girl in Winter (1947), as well as jazz music criticism, essays, and review articles. The latter were compiled into two books: All What Jazz: A Record Diary 1961-1968 (1970; 1985) and Required Writing: Miscellaneous Pieces 1955-1982. Both were published in 1970 and 1985 respectively (1984). Before his death in 1985, he was considered by many to be "England's other Poet Laureate." He was one of the most well-known poets to emerge from England in the decades after World War II. In point of fact, when the post of laureate became available in 1984, numerous poets and critics advocated for Larkin's election to the position; nevertheless, Larkin chose to stay out of the spotlight.
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Rampelt, Jason M. "Polity and liturgy in the philosophy of John Wallis." Notes and Records: the Royal Society Journal of the History of Science 72, no. 4 (October 10, 2018): 505–25. http://dx.doi.org/10.1098/rsnr.2018.0027.
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John Wallis, a founding member of the Royal Society, theologian and churchman, participated in the leading ecclesiastical conferences in England from the beginning of the English Civil War to the Restoration. His allegiance across governments, both civil and ecclesiastical, has provoked criticism. Close investigation into his position on key church issues, however, reveals a deeper philosophical unity binding together his natural philosophy, mathematics and views on church polity and liturgy.
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Huisman, Rosemary. "The discipline of English Literature from the perspective of SFL register." Language, Context and Text 1, no. 1 (February 4, 2019): 102–20. http://dx.doi.org/10.1075/langct.00005.hui.
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AbstractThe paper first traces the history and elaboration of the tertiary discipline English Literature through the 19th and 20th centuries to the present day, with special focus on the axiology, the values, given to the discipline and with a brief account of literary criticism and literary theory. It then refers to the work on registerial cartography in systemic functional linguistics (SFL) and explores the register of the contemporary discipline in first-order field of activity and second-order field of experience, with examples from the language of webpages and exam papers of Australian universities. It continues with a brief overview of the author’s own work using SFL in the study ofthe poeticandthe narrativein English poetry and prose fiction of different historical periods and concludes with a caveat on the central disciplinary process, that of interpretation.
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Alkhafaji, Suaad. "Arabic and English War Poetry: A Comparative Study of Wilfred Owen and Abdul Razzaq Abdul Wahid's Selected War Poems." International Journal of Linguistics, Literature and Translation 5, no. 12 (December 4, 2022): 41–47. http://dx.doi.org/10.32996/ijllt.2022.5.12.5.
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Over the ages, and in all nations, war has been a significant topic of analysis. The successive outbreak of wars throughout history make the subject of war part of human life. There is no good war, as well as there is no winner; every side at war has something to lose, and this is a universal truth everywhere. War is war; it is the same ugly war everywhere and every time. However, what makes war different is the pen of the writers and the language that is used to describe this serious subject. Each writer or poet presents war differently according to his or her views, attitudes, or experiences. This study aims to make a comparison between two poets who wrote about war. The Arab poet Abdul Razzaq Abdul Wahid (1930-2015) and the English poet Wilfred Owen (1893-1918). This comparative study explores the similarities and differences between these two poets and their ways of dealing with the subject of war. The study will discuss two poems; "Dulce et Decorum Est" from Owen and "You Terrified the Death" ((روعتم الموت by Abdul Wahid. The paper focuses on using language for both poets and with reference to some theories about structure, content, form, and technique of literary language and poetics.
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PAUL, SUBIN, and DAVID DOWLING. "Gandhi's Newspaperman: T. G. Narayanan and the quest for an independent India, 1938–46." Modern Asian Studies 54, no. 2 (September 5, 2019): 471–501. http://dx.doi.org/10.1017/s0026749x18000094.
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AbstractThe expansion of the colonial public sphere in India during the 1930s and 1940s saw the nation's English-language press increasingly serve as a key site in the struggle for freedom despite British censorship. This article examines the journalistic career of T. G. Narayanan, the first Indian war correspondent and investigative reporter, to understand the role of English-language newspapers in India's quest for independence. Narayanan reported on two major events leading to independence: the Bengal famine of 1943 and the Second World War. Drawing on Michael Walzer's concept of the ‘connected critic’, this research demonstrates that Narayanan's journalism fuelled the Indian nationalist movement by manoeuvring around British censors to publicize and expand Mahatma Gandhi's criticism of British rule, especially in light of the famine and war. His one departure from the pacifist leader, however, was his support of Indian soldiers serving in the Indian National Army and British Army.
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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.
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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.
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JONES-KATZ, GREGORY. "“THE BRIDES OF DECONSTRUCTION AND CRITICISM” AND THE TRANSFORMATION OF FEMINISM IN THE NORTH AMERICAN ACADEMY." Modern Intellectual History 17, no. 2 (June 28, 2018): 413–42. http://dx.doi.org/10.1017/s1479244318000318.
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“The Brides of Deconstruction and Criticism,” an informal group of feminist literary critics active at Yale University during the 1970s, were inspired by second-wave feminist curriculum, activities, and thought, as well as by the politics of the women's and gay liberation movements, in their effort to intervene into patterns of female effacement and marginalization. By the early 1980s, while helping direct deconstructive reading away from the self-subversiveness of French and English prose and poetry, the Brides made groundbreaking contributions to—and in several cases founded—fields of scholarly inquiry. During the late 1980s, these feminist deconstructionists, having overcome resistance from within Yale's English Department and elsewhere, used their works as social and political acts to help pave the way for the successes of cultural studies in the North American academy. Far from a supplément to what Barbara Johnson boldly called the “Male School,” the Brides of Deconstruction and Criticism arguably were the Yale school. Examining the distinct but interrelated projects of Yale's feminist deconstructive moment and how local and contingent events as well as the national climate, rather than the importation of so-called French theory, informed this moment gives us a clearer rendering of the story of deconstruction.
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Haile, Getatchew. "Amharic Poetry of the Ethiopian Diaspora in America: A Sampler." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (March 2011): 321–39. http://dx.doi.org/10.3138/diaspora.15.2-3.321.
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This essay offers the first English-language translations of Amharic poetry written by Ethiopian immigrants to the United States. Following an introduction to the Amharic language and the central place of poetry in Ethiopian literature and cultural life, the author discusses the work of four poets. The poems of Tewodros Abebe, Amha Asfaw, Alemayehu Gebrehiwot, and Alemtsehay Wedajo make creative use of Ethiopian verbal constructions reminiscent of traditional war songs and verbal interrogations used in legal contexts. Many of the poems speak eloquently of the personal losses Ethiopians have suffered as a result of their departure from their homeland. The essay includes biographical and ethnographic details about the individual poets and various influences on their compositions. (April 2009)
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Merrill, Jason. "Fedor Sologub in English-Language Anthologies: 1915-1950." RUDN Journal of Studies in Literature and Journalism 27, no. 2 (July 6, 2022): 257–85. http://dx.doi.org/10.22363/2312-9220-2022-27-2-257-285.
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The history of the reception of the Russian Symbolist movement in English begins in the 1890s. Readers in Great Britain and the United States could read about the Russian Symbolist Fedor Sologub long before any of his works were translated into English. During World War I and a parallel wave of interest in Russia, Sologub is one of the most popular Russian writers in the English-speaking world. Some of his poetry and prose works are translated into English and during the years 1915-1950 are included in no fewer than 28 Englishlanguage anthologies. During the first years of this period, almost all of his prose that is accessible to English readers is selected and translated by two translators, John Cournos and Stephen Graham. His poetry, on the other hand, is selected and translated by several translators over the course of this entire period. Anthologies with works by Sologub appear in two main waves: from 1915 until the middle of the 1920s, and in the 1940s after the outbreak of WWII. These anthologies demonstrate how Sologub was presented to English-speaking audiences during these years. This article examines English-language anthologies from this period, comparing what, if anything, is said about Sologub in their introductions to the works by Sologub they include. Some presented him as the quintessential decadent, while others tried to show the various sides of Sologub’s works. It is often the case in anthologies that the opinions of Sologub presented by editors are not supported by the works by Sologub these same editors selected for inclusion. The article ends with three bibliographical appendices listing Sologub’s anthologized poetry and prose and the anthologies that included them.
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Burney, Fatima. "Strategies of Sound and Stringing in Ebenezer Pocock's West–East Verse." Comparative Critical Studies 17, no. 2 (June 2020): 319–36. http://dx.doi.org/10.3366/ccs.2020.0365.
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In an effort to capture how Orientalist translations, imitations and criticism of Asian poetry came to inform the idealization of lyric as a universal genre, this paper focuses on the practice of poetic metre in the nineteenth century. How did Victorian conceptions of recitational communities, bounded by shared ‘national’ metres, square against the wealth of translated works that were a major component of Victorian print culture? The amateur Orientalist Ebenezer Pocock explained various metres and musical practices associated with ‘Persian lyrics’ in his book Flowers of the East (1833) and offered equivalent metres in English before replicating these shared English/Persian metres in his own imitative poem ‘The Khanjgaruh: A Fragment’. This article sketches how Pocock's casting of this hybrid material in metres that would already have been recognizable to his English readers seems to have the intended effect of both orienting his work towards his domestic audience and grounding such a flexible approach within the Persian tradition itself. Pocock's poem sits amongst a range of accompanying materials including translations of Sa‘dī and scholarly essays on comparative philology and Persian literary history. Each of these different pieces supports the collection's greater effort – best encapsulated by ‘The Khanjgaruh’ – to both remember and imagine the shared poetic history between Asia and Europe. Pocock's writing thus emblemizes how the nineteenth-century ‘West–East lyric’ was a product of both historical and philological recovering as well as the willed creation of poets and poetry enthusiasts. As a category, lyric performs a binding function in Pocock's work to pull together a linguistically and professionally diverse community of writers.
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Russell, Jesse. "Jewish Humanism in the Late Work of Geoffrey Hill." Religion and the Arts 25, no. 1-2 (March 24, 2021): 99–124. http://dx.doi.org/10.1163/15685292-02501015.
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Abstract Throughout much of his career, Geoffrey Hill has been pilloried for his alleged conservativism as well as his positive treatment of Christianity in his poetry. A careful reading of his works, however, reveals a complex thinker who was attentive to the moral fallout of the Holocaust and the Second World War as he was a lover of England and European culture. Moreover, Hill’s writings reflect the apparent influence of a host of personalist, existentialist and what could also be called “humanist” twentieth century Jewish thinkers such as Martin Buber and Emmanuel Levinas. Throughout his poetry—especially his later work—Hill attempts (whether successfully or not) to fuse together this Jewish humanism with his own Christian and English voice.
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MOORE, R. LAURENCE. "TOP-DOWN RELIGION AND THE DESIGN OF POST-WORLD WAR II AMERICAN PLURALISM." Modern Intellectual History 10, no. 1 (April 2013): 233–43. http://dx.doi.org/10.1017/s1479244312000443.
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Academics are falsely rumored to have a low regard for religion. Although Richard Dawkins and Christopher Hitchens, authors of The God Delusion and God Is Not Great, respectively, made atheism a best-selling subject in the United States, it is not coincidental that Hitchens and Dawkins are English. They were educated in a country where a strident antipathy toward religion is not unpatriotic. American atheists with as much brass are rare. Kicking religion around cannot be an American sport because, from colonial to contemporary times, religion has been a central component of American culture. To be sure, a lot of scholarly criticism has been directed at right-wing Christian and Islamic movements. But scholars whose personal views on faith incline them to echo Hitchens's mordant formula that “religion poisons everything” should probably look for a country other than the United States to study. The recent books of historians and sociologists of American religion have taken a tone toward the subject that has ranged from gentle to friendly.
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Furaih, Ameer Chasib. "‘Let no one say the past is dead’: History wars and the poetry of Oodgeroo Noonuccal and Sonia Sanchez." Queensland Review 25, no. 1 (June 2018): 163–76. http://dx.doi.org/10.1017/qre.2018.14.
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AbstractThe histories of Australian Aboriginal and African American peoples have been disregarded for more than two centuries. In the 1960s, Aboriginal and African American civil rights activists addressed this neglect. Each endeavoured to write a critical version of history that included their people(s). This article highlights the role of Aboriginal Australian poet Oodgeroo Noonuccal (formerly Kath Walker) (1920–93) and African American poet Sonia Sanchez (born 1934) in reviving their peoples’ history. Using Deleuze and Guattari's concept of ‘minor literature’, the essay shows how these poets deterritorialise the English language and English poetry and exploit their own poetries as counter-histories to record milestone events in the history of their peoples. It will also highlight the importance of these accounts in this ‘history war’. It examines selected poems from Oodgeroo's My People: A Kath Walker Collection and Sanchez's Home Coming and We A BaddDDD People to demonstrate that similarities in their poetic themes are the result of a common awareness of a global movement of black resistance. This shared awareness is significant despite the fact that the poets have different ethnicities and little direct literary impact upon each other.
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Шмігер, Тарас. "Review Article. How Poetry is Translated…" East European Journal of Psycholinguistics 4, no. 2 (December 28, 2017): 95–96. http://dx.doi.org/10.29038/eejpl.2017.4.2.shm.
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James W. Underhill. Voice and Versification in Translating Poems. University of Ottawa Press, 2016. xiii, 333 p.
After its very strong stance in the 19th century, the versification part of translation scholarship was gradually declining during the 20th century, substituted by the innovative searches for semasiology, culture and society in text. The studies of structural and cognitive approaches to writing, its postcolonial identity or gender-based essence uncovered a lot of issues of the informational essence of texts, but overshadowed the meaning of their formal structures. The book ‘Voice and Versification in Translating Poems’ welcomes us to the reconsideration of what formal structures in poetry can mean.
James William Underhill, a native of Scotland and a graduate of Hull University, got Master’s and PhD degrees from Université de Paris VIII (1994 and 1999 respectively). He has translated from French, German and Czech into English, and now, he is full professor of poetics and translation at the English Department of Rouen University as well as the director of the Rouen Ethnolinguistics Project. His scholarly activities focused on the subject of metaphor, versification, cultural linguistics and translation. He also authored ‘Humboldt, Worldview, and Language’ (Edinburgh University Press, 2009), ‘Creating Worldviews: Ideology, Metaphor and Language’ (Edinburgh University Press, 2011), and ‘Ethnolinguistics and Cultural Concepts: Truth, Love, Hate and War’ (Cambridge University Press, 2012).
the belief of the impossibility of translating poems, poems are translated and sometimes translated quite successfully. In contemporary literary criticism, one observes the contradiction that despiteJames W. Underhill investigates this fascinating observable fact by deploying the theory of voice.
The first part of the book, ‘Versification’, is more theoretical as the researcher is to summarizes the existing views and introduce fundamental terms and guidelines. The book is strongly influenced by the French theoretician Henri Meschonnic, but other academic traditions of researching verse are also present. This part includes four chapters where the author discusses recent scholarship in the subject-matter (‘Form’), theories of verse structure (‘Comparative Versification’), rhythm and stress systems (‘Meter and Language’), and the issues of patterning and repetition (‘Beyond Metrics’). The author shapes the key principle of his views that ‘[v]oice represents the lyrical subject of the poem, the “I” that creates it, but that is also created in and by the poem’ (p. 44). This stipulation drives him to the analysis of five facets in poetry translation: 1) the voice of a language; 2) the voice of an era; 3) the voice of a literary movement or context of influence; 4) the voice of a poet; 5) the voice of the particular poem.
Part 2, ‘Form and Meaning in Poetry Translation’, offers more theorizing on how we can (or should) translate form. The triple typology of main approaches – (translating form blindly; translating a poem with a poem; translating form meaningfully) – sounds like a truism. The generic approach might be more beneficial, as the variety of terms applied in poetry translation and applicable to the idea of the book – (poetic transfusion, adaptation, version, variant) – would widen and deepen the range of questions trying to disclose the magic of transformations while rendering poetry of a source author and culture to the target reader as an individual and a community. The experience of a reader (individual and cultural personality) could be a verifying criterion for translating strategies shaped the translator’s experience.
In Part 3, ‘Case Studies’, the author explores the English translations of Charles Baudelaire’s poetry and the French and German translations of Emily Dickinson’s poems. All translations theoreticians and practitioners will agree with the researcher’s statement that “[t]ranslating that simplicity is inevitably arduous” (p. 187). Balancing between slavery-like formalist operations and free transcreations, translators experiment on strategies of how to reproduce the original author’s voice and versification successfully enough. The longing categorically pushes us to the necessity of understanding what is in language but communication, how a nation’s emotionality is built linguistically, and why a language applies certain meters for specific emotional articulation.
‘Glossary’ (p. 297-319), compiled on the basis of theoretical reflections in the main text on the book, is of significant practical value. This could really become a good sample to follow in any academic book.
This book takes us closer to the questions ‘How can a form mean something?’ and ‘How can we verify this meaning?’, though further research merged in ethnolingual, ethnopoetic and ethnomusical studies still promises to be extremely rich.
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Zimbroianu, Cristina. "The Reception of Olivia Manning’s The Great Fortune in Romania." Connections: A Journal of Language, Media and Culture 2, no. 1 (December 16, 2021): 18–29. http://dx.doi.org/10.29173/connections34.
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Manning’s (1908-1980) novel The Great Fortune (1960) is the first Second World War novel of a six-part novel series titled Fortunes of War. Set in Bucharest, Romania, the novel portrays the historical events of the first year of the war (1939-1940) and how these affect Romanian society and the English community. The novel was well-received in England, and in 1987 was adapted to a television serial issued by BBC. In Romania, the response of the critics after the communist regime was rather harsh, accusing Manning of misinterpreting Romanian reality. Moreover, considering that Manning portrays not only the wealth of high society but also the misery and the political conflicts of those times with the fascist Guard in the background, it could be stated that in 1960 when the novel was reviewed by the censorship board, it might not have been positively evaluated. Therefore, this article analyses the reception of The Great Fortune in Romania during and after the Communist regime from a historical perspective focusing on critics and censors’ responses to determine whether censorship influenced the reception of the novel in Romania. To undertake this study the censorship files located at the National Archives in Bucharest, as well as articles guarded in various libraries in Romania, were consulted. Keywords: Manning, Second World War, Romania, Bucharest, censorship, criticism, history, reception studies
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Rosebank, Jon. "G.N. Clark and the Oxford School of Modern History, 1919–1922: Hidden Origins of 1066 And All That*." English Historical Review 135, no. 572 (February 2020): 127–56. http://dx.doi.org/10.1093/ehr/ceaa005.
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Abstract W.C. Sellar and R.J. Yeatman’s 1066 and All That is a satirical history of England, published in 1930. It has long been thought to be a parody of popular history textbooks, characteristic of a generation of post-war writers disillusioned with the tone of patriotic English exceptionalism of many books. This paper explores contemporary critiques of history textbooks in the first third of the twentieth century and finds, however, that 1066 And All That is unusual in its implied criticism. It suggests that the standpoint of its authors reflects more than simply the recoil of their generation of ex-servicemen. It proposes that the book reflects their own particular experience of reading history at Oxford in 1919–22, at a time when teaching in the Modern History School still included much that was literary and whiggish. G.N. Clark had been their tutor, a historian close to C.H. Firth, Regius Professor of Modern History, and sympathetic to Firth’s long and controversial campaign for reform. While Clark’s later reputation was as a cautious scholar, as a young man he was a witty iconoclast, active in left-wing politics. We trace his influence on Sellar and Yeatman through the lectures they attended, and discover that 1066 And All That bears clear references to Clark’s reformist views on history at Oxford.
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Elias, Amy J. "Context Rocks!" Publications of the Modern Language Association of America 134, no. 3 (May 2019): 579–87. http://dx.doi.org/10.1632/pmla.2019.134.3.579.
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Searching for the phrase “appreciation of literature” in Google's Ngram Viewer shows that the phrase reached its peak usage in English publications between 1936 and 1937 and then nosedived after those years. It's interesting to speculate about what came together at that time. In 1937, DC Thomson published the first issue of The Dandy, one of the best selling comics in the history of British pop culture and the third-longest-running comics in the world; Daffy Duck debuted in the animated short Porky's Duck Hunt, directed by Tex Avery for the Looney Tunes series; and Detective Comics commenced publication. A year later, Superman went public. But 1937 also was the year that John Crowe Ransom left Vanderbilt University for Kenyon College and published “Criticism, Inc.” in The Virginia Quarterly Review. The target of Ransom's ire is “moralist” historical criticism, into which camp he puts actual morality purveyors, the new humanists and the new leftists (those purveyors of what we often now call symptomatic readings), and “personal registrations” or unfettered appreciation (597). While of course correlation is not causation, 1937 might mark an important fork in the subterranean lines in the United States, where the two trains of comics fandom and literary criticism begin to go in different directions, on trajectories that take them farther apart during and after World War II: comics toward the aesthetics of appreciation, and criticism to increasingly professionalized literary analysis. Critics today seem to be returning to this junction, asking how comics and criticism might reunite. Perhaps that convergence is happening now, through approaches variously known as surface reading (Best and Marcus), reparative reading (Sedgwick), close reading, postcritique (Felski, Limits), thin description (Love), or redescription (Latour)—each of which encourages professionalized critical appraisal without taking rolling stock into dead-end symptomatic tunnels. Perhaps it is through some other approach, one that may look like Hillary Chute's Why Comics?
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Shсhipkov, N. A. "<i>Cultural Studies</i> as a Political Practice." Concept: philosophy, religion, culture 6, no. 1 (March 27, 2022): 20–29. http://dx.doi.org/10.24833/2541-8831-2022-1-21-20-29.
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The phenomenon of politicization of humanitarian scientific thought is becoming increasingly noticeable in the modern philosophical, cultural and political science. Scientists and philosophers belonging to political parties are nothing new in the history of science. Today, however, this kind of division into separate groups reveals not only ideological, but also a pronounced political character. The example of the Western European, English-speaking humanitarian academic community appears to be particularly indicative in this regard. Apparently, the conflict between the increasingly radicalized left and right discourses within the English-speaking academic community is entering an active phase. To understand the nature of this confrontation, it is necessary both to consider these discourses as separate phenomena, and to delve into their historical roots. The political discourse of the New Left is most clearly revealed in the program of the so-called cultural studies that appeared among post-war English Marxist intellectuals and later took root in the USA. The term was popularized by Herbert Richard Hoggart a British academic who specialized in sociology, English literature, and British popular culture. In 1964 he founded the Center for Contemporary Cultural Studies in Birmingham (CCCS). The history of CCCS is strongly associated with the name of Stuart Henry Hall, who was Hoggart's assistant and headed the Center since 1971. The connection between political action and cultural studies permeates the entire history of this field of knowledge. The very formation of the discipline and its institutionalization in the UK were influenced by such political and cultural events as the post-war Americanization of English popular culture, the spread of telecommunications, the new era of multiculturalism in Britain, and new critical theories. At the same time, many post-war European countries, such as Germany and France, showed interest in research, which ultimately shaped the apparatus of cultural studies. Within the framework of this program, we can see an increasingly nature perspective on culture that combines the Marxist view on the problem of culture and the sociological one but is not reduced to either of them. In this kind of paradigm, culture is understood as a consequence of people's social actions, and at the same time, as a certain system that fixes the ways of implementing these relations. This approach differs from both classical Marxism facosed on economic relations between people and from structural functionalism, in which the concepts of society and culture are almost synonymous. The author states that the discourse of the New Left and the program of cultural studies are different manifestations of a single methodological approach or worldview. At present, this is the dominant worldview in the Western academic community. The article examines the history and main methodological guidelines of this type of cultural studies, as well as today's criticism of this approach.
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Walhout, M. D. "F. O. Matthiessen and the Future of American Studies." Prospects 22 (October 1997): 1–34. http://dx.doi.org/10.1017/s036123330000003x.
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Now that the Soviet empire has collapsed, it is time for a fresh look at the victims of the oppositional “Cold War criticism” that came to dominate American Studies in the 1980s. Hoping to stem the tide of the Reagan Revolution, the “New Americanists,” as Frederick Crews dubbed the academic heirs of the New Left, instigated a sweeping critique of their own discipline, charging the founders of American Studies with complicity in imperialism abroad and McCarthyism at home. Of all the founders, none was interrogated more thoroughly than F. O. Matthiessen, long regarded as the very model of a critic for whom radical politics and academic criticism were not mutually exclusive commitments. As late as the early 1980s, critics were still hailing Matthiessen as a pioneer in the development of American Marxist criticism. Frederick Stern, for example, asserted that Matthiessen's “methodology as a critic, though not in any pure sense Marxist…, comes closer to some of the distinguished efforts of the Marxist critics of Europe than does the work of just about any other major American critic of Matthiessen's time” (44). Similarly, Leo Marx argued that “in his subtle treatment of the interplay between literature and society, Matthiessen in a sense anticipated the development of a more supple Marxist cultural and literary theory since its liberation from the rigid doctrinal cast of the Stalin era” (256). Yet it was also in the early 1980s that the first blow to Matthiessen's reputation was struck in The American Renaissance Reconsidered, a collection of papers from the English Institute whose title, echoing that of Matthiessen's magnum opus, announced the beginning of an ambitious campaign to revise the history of American Studies – a campaign that proved to be quicker and easier than anyone could have expected.
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Čirić-Fazlija, Ifeta. "“Not the time for fighting but for taking care of each other”: Portrayals of the Second World War in Two Asian-American Plays." Društvene i humanističke studije (Online) 7, no. 2(19) (May 20, 2022): 139–52. http://dx.doi.org/10.51558/2490-3647.2022.7.2.139.
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Most of humanity’s recorded history has been indelibly marked by armed conflicts in various places around the world, yet the scale and effect of the two world wars in the first half of the twentieth century were unprecedented. Both wars remapped the geography, politics, economies, and consciousness of prior realities, and echoed deafeningly throughout the modern works of literature of diverse nations. Anglophone literature overtly portrays wartime atrocities and human ordeals, and concurrently raises awareness of, and agitates against, the savagery of warfare. It does so through its poignant Trench Poetry, the anti-war novels of the Lost Generation, dramas of the Holocaust, and theater of genocide, among others. Another, relatively recent, a subgenre of Anglophone drama also addresses the subject of armed conflicts and their consequences, although its critics and reviewers mostly focus on identity politics, minority and ethnic studies, and the mix of ideas and images that are features of Asian-American theater. Within it researchers can find arresting examples of how an English-speaking theater represents conflict-induced displacement and migration and other repercussions of the Second World War, while dealing with one of the most discomfiting events in recent US history. This paper examines Wakako Yamauchi’s representation of the state-controlled relocation of Asian-American citizens and their consequent experiences, in her play 12-1-A; and Velina Hasu Houston’s portrayal of the Second World War’s ideological and socio-economic repercussions in the Japanese community, in Asa Ga Kimashita (Morning Has Broken).
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Nolan, Frances. "‘The Cat’s Paw’: Helen Arthur, the act of resumption andThe Popish pretenders to the forfeited estates in Ireland, 1700–03." Irish Historical Studies 42, no. 162 (November 2018): 225–43. http://dx.doi.org/10.1017/ihs.2018.31.
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AbstractThis article examines the case of Helen Arthur, a Catholic and Jacobite Irish woman who travelled with her children to France following William III’s victory over James II in the War of the Two Kings (1689–91). It considers Helen’s circumstances and her representation inThe Popish pretenders to the forfeited estates in Ireland, a pamphlet published in London in 1702 as a criticism of the act of resumption. The act, introduced by the English parliament in 1700, voided the majority of William III’s grants to favourites and supporters. Its provisions offered many dispossessed, including the dependants of outlawed males, a chance to reclaim compromised or forfeited property by submitting a claim to a board of trustees in Dublin. Helen Arthur missed the initial deadline for submissions, but secured an extension to submit through a clause in a 1701 supply bill, a development that brought her to the attention of the anonymous author ofThe Popish pretenders. Charting Helen’s efforts to reclaim her jointure, her eldest son’s estate and her younger children’s portions, this article looks at the ways in which dispossessed Irish Catholics and/or Jacobites reacted to legislative developments. More specifically, it shines a light on the possibilities for female agency in a period of significant upheaval, demonstrating opportunities for participation and representation in the public sphere, both in London and in Dublin. It also considers the impact of the politicisation of religion upon understandings of women’s roles and experiences during the Williamite confiscation, and suggests that a synonymising of Catholicism with Jacobitism (and Protestantism with the Williamite cause) has significant repercussions for understandings of women’s activities during the period. It also examines contemporary attitudes to women’s activity, interrogating the casting of Helen as a ‘cat’s paw’ in a bigger political game, invariably played by men.
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ХАВЖОКОВА, Л. Б. "ARTISTIC REFLECTION OF HISTORY IN THE WORKS OF THE ADYGHE POETS OF THE OLDER GENERATION." Известия СОИГСИ, no. 44(83) (June 27, 2022): 129–41. http://dx.doi.org/10.46698/vnc.2022.83.44.002.
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Проблема художественной интерпретации исторических фактов и событий является одной из малоизученных в современном адыгском и в целом в северокавказском литературоведении. Ее актуальность обусловлена тем, что в настоящее время существует определенный пробел в восстановлении страниц прошлого адыгского этноса, воссоздании целостной картины национальной литературы и культуры, с выявлением факторов, повлиявших на ход их развития. Научная новизна работы состоит в том, что в ней предпринята попытка изучения истории народа сквозь призму художественно-поэтического сознания адыгов (черкесов). В статье представлено комплексное исследование темы Кавказской войны и махаджирства в адыгской (кабардинской, черкесской, адыгейской) поэзии периода становления и начального этапа эволюции. Цель исследования – сформировать художественную концепцию истории адыгского этноса. Достижение поставленной цели требует решения ряда задач, главная из которых – рассмотреть Кавказскую войну и махаджирство не как историческую, политическую или культурную парадигму, а с точки зрения особенностей авторского типа мировосприятия, в конкретном авторском дискурсе. В соответствии с целью и задачами исследования проведен анализ первых поэтических произведений, посвященных обозначенным историческим событиям, определена роль поэтов старшего поколения (Х. Хамхоков, Б. Пачев, А. Шогенцуков, А. Кешоков) в раскрытии «табуированной» до середины ХХ в. и, следовательно, новаторской темы. К исследованию привлечен ряд общенаучных методов (анализ, описание, сравнительно-исторический метод и т.д.). Полученные результаты могут найти применение при изучении истории адыгской поэзии и в более обширном плане – литературы народов Северного Кавказа и Российской Федерации. The problem of artistic interpretation of historical facts and events is one of the little-studied in modern Adyghe and in general in the North Caucasian literary criticism. Its relevance is due to the fact that at present there is a certain gap in the restoration of the pages of the past of the Adyghe ethnic group, the reconstruction of a holistic picture of national literature and culture, with the identification of factors that influenced the course of their development. The scientific novelty of the work lies in the fact that it attempts to study the history of the people through the prism of the artistic and poetic consciousness of the Adyghe (Circassians). The article presents a comprehensive study of the theme of the Caucasian war and eviction in the Adyghe (Kabardian, Circassian, Adyghean) poetry of the period of formation and the initial stage of evolution. The purpose of the study is to form an artistic concept of the history of the Adyghe ethnic group. Achieving this goal requires solving a number of tasks, the main of which is to consider the Caucasian war and eviction not as a historical, political or cultural paradigm, but from the point of view of the characteristics of the author's type of worldview, in a specific author's discourse. In accordance with the purpose and objectives of the study, an analysis of the first poetic works dedicated to the designated historical events was carried out, the role of poets of the older generation (Kh. Khamhokov, B. Pachev, A. Shogentsukov, A. Keshokov) in the disclosure of the "taboo" until the middle of the twentieth century was determined. and therefore an innovative theme. A number of general scientific methods (analysis, description, comparative historical method, etc.) are involved in the study. The results obtained can be used in the study of the history of the Adyghe poetry and, more broadly, the literature of the peoples of the North Caucasus and the Russian Federation.
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Pospiszyl, Michał. "Plaga bezprawia. Wojna domowa i paradoks władzy suwerennej." Civitas. Studia z Filozofii Polityki 17 (January 30, 2015): 183–204. http://dx.doi.org/10.35757/civ.2015.17.09.
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This paper consists of three parts. The first is devoted to the role of the Athenian plague in Thucydides’ History of the Peloponnesian War. There are indications that the civil war that broke out in the country, weakened by plague, was not simply the result of a historical and degraded human nature. Instead of using evil human nature as the key for understanding each social conflict, I suggest interpreting the Athenian civil war (stasis) as a symptom of non-egalitarian social relations. The second part of the paper is devoted to the birth of modern capitalism and the analysis of Thomas Hobbes’ philosophy. An English philosopher, Hobbes not only translated The History of the Peloponnesian War, but was also an author who treated the reality of modern civil wars as a principal point of reference. Hobbes created his philosophy mainly as a result of fearing a conflict that could undermine the existing division of power and wealth. The result of this fear was a mechanism that I refer to as the paradox of sovereign power. It was a process during which the authority that had been established to defend society against lawlessness and chaos dominated the social life, not respecting existing laws and customs, and thus creating the very world it was supposed to protect the people from. The third part is devoted to Walter Benjamin’s criticism of sovereign power. Observing the same processes as Hobbes did, the German philosopher viewed them from the inside (i.e., from the perspective of the victims of modern progress, the same view that aroused fear in the author of Leviathan). Benjamin argued that the social order established at the threshold of modernity was built on unlawful violence (primitive accumulation) and that the condition for its duration was the permanent reproduction of this lawlessness (hence, the thesis of the state of emergency, which has become the rule). According to Benjamin, this vicious circle of violence can only be escaped by recovering the memory of folk traditions, past class struggles, lost revolutions and social systems that, like the Paris Commune, pose the possibility of life liberated from the yoke.
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Zakharov, Vladimir N. "The Idea of Ethnopoetics in Contemporary Research." Проблемы исторической поэтики 18, no. 3 (July 2020): 7–19. http://dx.doi.org/10.15393/j9.art.2020.8382.
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<p>In recent decades, ethnopoetics has become one of the new philological disciplines. Its idea first appeared in the treatise of Nicolas Boileau “The Art of Poetry” (1674), in which the classicist theorist formulated the requirement of local and historical color in art. His rule was followed by many poets, playwrights and novelists of Modern history. In Anglo-American criticism, the term ethnopoetics was introduced in 1968. Jerome Rotenberg, who, along with Dennis Tedlock and Dell Himes, founded the principles and methods of studying American Indian poetry. In the 2000s. this concept has entered encyclopedic dictionaries in English and other European languages, but this word is still not in Russian terminological dictionaries. So far, the concept of poetics, which restricts the semantics of words forming a term, has received recognition. Already in the process of formation of ethnopoetics, its subject was expanded at the expense of middle Eastern and Jewish folklore, and later the oral creativity of other peoples. The word formation model (ἔθνος/ ethnos + ποιητική/poetics) cancels limited interpretations of the term. In modern usage, the term ethnopoetics is used in a wide range of meanings that have not yet been marked by lexicographers, but convey the full semantics of the words forming the term. The idea of ethnopoetics gave rise to not one, but several of its concepts. The author of the article develops his earlier understanding of ethnopoetics as a discipline that should study the national identity of the oral and written text, describe in the categories of poetics the specific things that make national literature national. It is characterized by concepts and conceptospheres, they form the mentality, reveal the cultural code of national literatures. The analysis of ethnopoetics opens up great opportunities in the comparative analysis of thesauri of different authors and their works.</p>
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Osminina, E. A. "Solovyov’s China and its influence on his contemporaries." Solov’evskie issledovaniya, no. 2 (June 30, 2020): 23–42. http://dx.doi.org/10.17588/2076-9210.2020.2.023-042.
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The article examines the influence of V.S. Solovyov on the writers and poets of the Silver age. On the material of the works of Solovyov, related to the «сhinese theme»: the articles «Russia and Europe», «China and Europe», «Japan», «The enemy from the East»; the review of the first volume of works by E.E. Ukhtomsky; the poems «Panmongolizm» and «Dragon»;the tractate «The three conversations about war, progress and the end of world history»; the letter «About the recent events», – is evaluated his influence on D.S. Merezhkovsky's articles: «Yellow-faced positivists», «The coming ham», V.I. Ivanov's articles «Russia, England and Asia», «Inspiration of horror», V.M. Doroshevich's story «Goddess», V.V. Veresaev's story «Under the cedars»; «Chinese poems» and the articles of V.J. Bryusov. The political context of the works, the tradition of depicting China in Russian literature, literary and sinological works on this topic are taken into account. The comparative analysis of texts, the coincidence of a number of theoretical positions, and separate definitions and epithets are revealed. The numbers of Solovyov's positions are revealed, which are reflected in the works of Merezhkovsky and Ivanov: materialism and positivism of the Chinese, the «emptiness» of their philosophy, the denial of life and progress, the «yellow danger», the need for the Christianization of China (the last position in Merezhkovsky is not). Doroshevich's story, written at the height of the ikhetuan rebellion («boxer rebellion»), was influenced by the philosopher's eschatological prophecies. The negative image of China in the poetry of V.J. Bryusov is the textual confirmation of the influence of Solovyov, noted by modern literary criticism.
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Lewandowski, Michał. "Stanisław Kryński – przyczynek do biografii." Acta Iuridica Resoviensia 33, no. 2 (2021): 67–80. http://dx.doi.org/10.15584/actaires.2021.2.5.
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As a young man Stanisław Kryński, our Polish scholar, intended to devote his life to Roman Law. The fact may be surprising as Kryński received a great deal of attention thanks to his Polish translations of English poetry and the first volume of The history of the decline and fall of the Roman Empire by Edward Gibbon. The first archival research shows that in his youth Kryński was really into Roman Law and was even going to do his doctorate on “Iudicum familiae erciscundae in a Classic Roman Law”. He became the assistant of the professor Ignacy Koschembahr-Łyskowski while studying at the Faculty of Law and State Science at the University of Warsaw. The professor became his academic mentor and enabled him to serve an academic apprenticeship in Rome in 1938. The outbreak of the Second World War pulled the rug from under Kryński’s feet. But still, the skills and knowledge acquired in Warsaw were extremely valuable when he lectured Roman Law at the Polish Faculty of Law in Oxford in the years 1944–1946. After returning to Poland, he became a higher education lecturer at SGH Warsaw School of Economics and at Catholic University of Lublin. He did not carry on the research into Roman Law.
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Helgesson, Stefan. "Litteraturvetenskapen och det kosmopolitiska begäret." Tidskrift för litteraturvetenskap 43, no. 1 (January 1, 2013): 81–93. http://dx.doi.org/10.54797/tfl.v43i1.10885.
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Literary Studies and Cosmopolitan Desire
With a focus on Swedish and English translations of the Brazilian war narrative Os sertões (1902) by Euclides da Cunha, this essay begins by exploring the conditions of possibility for the transnational circulation of this Brazilian national classic as ”world literature”. A cosmopolitan, North Atlantic literary network – in which the Austrian writer Stefan Zweig was an influential figure (even posthumously) – is shown to have been instrumental in drawing the Swedish translator Thomas Warburton’s attention to Os sertões in the 1940s. Having traced the outlines of this translation history, the essay provides a theoretical excursus on the dynamic of cosmopolitan and vernacular tendencies in literary history and in the history of literary studies, especially the Swedish discipline of litteraturvetenskap. The underlying argument is that literary studies in Sweden has been shaped by a combination of methodological nationalism (with regard to primary sources) and methodological eurocentrism (in terms of its historical and theoretical horizon). The particular cosmopolitanism of literary studies in Sweden has in this way been expressive of Sweden’s position in a specific configuration of geopolitical power relations – a configuration that is currently undergoing significant changes and could be seen to motivate Dipesh Chakrabarty’s call to ”provincialize Europe”. In closing, it is therefore claimed that the case of Os sertões and its Swedish translation can be read in two ways: as an affirmation of a twentieth-century North Atlantic hegemony (and its corresponding form of cosmopolitanism) but also, if we close read the text itself, as a challenge to that very hegemony, potentially enabling a redistribution of the cosmopolitan desire of literary criticism.
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Reeve, Michael. "Cuius in Usum? Recent and Future Editing." Journal of Roman Studies 90 (November 2000): 196–206. http://dx.doi.org/10.2307/300207.
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In 1993 Michael Winterbottom remarked that we have reached ‘what may be the last decades of the systematic editing of classical texts’. If he was right, what has been dwindling: capacity, interest, scope, or confidence?When editors' prefaces include such Latin as ‘ad huius operis finem … longdudum exspectatum’ (1983), ‘non solum hominibus, sed ne libris quidem non pepercit’ (1991, of the War), ‘ex Italia, ut Munk Olsen videtur, ortus’ (1997), or ‘latet uel peritus’ (1997, of an untraced manuscript), it is tempting to blame incapacity, and to blame that in turn on a decline of interest in Latin and more narrowly in textual criticism. Not just a laudator temporis acti se puero could document the decline by looking at statistics and syllabuses; but there would be widespread agreement that in so far as textual criticism has given way to greater concern with content its proportional decline is no bad thing. Relevant too, some would say, is the decline of composition; but I am not convinced by either the obvious or the deeper reason that they give. Obviously, a preface should not be the first thing, or the first thing for thirty years, that the editor composes in Latin. Need it be, though? Lloyd-Jones and Wilson chose English in their O.C.T. of Sophocles (1990), and Green has now followed their example in a Latin O.C.T., his very handy editio minor of Ausonius (1999). Anyone who takes the view expressed to me by a distinguished German Latinist, that by abandoning Latin in prefaces one cuts off the branch that one is sitting on, should answer Merkelbach's charge that the policy of writing the notes in Latin has held up Inscriptiones Graecae. At a deeper level, composing in a language is said to be the best way of learning it; but surely reading large amounts of it observantly is just as good or better, unless the distinction between active and passive knowledge of a language holds only for the modern languages that one reads comfortably and sometimes makes a pitiful attempt to speak. Even without mystical claims for the value of composition, declining knowledge of Latin is quite enough of a threat to editing.
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Liu, Siyuan. "“The Brightest Sun, The Darkest Shadow”: Ideology and the Study of Chinese Theatre in the West during the Cold War." Theatre Survey 54, no. 1 (January 2013): 27–50. http://dx.doi.org/10.1017/s0040557412000403.
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This is the new Communist drama, and the picture is frequently artless and sterile, without depth, without truth, and without reality.—Walter and Ruth Meserve, 1970Peking opera now is a mixture of drama, music, dance, acrobatics, poetry, propaganda and revolutionary history, with indefatigable heroes (more adroit than James Bond, and with a purpose he never dreamed of) and fabulously wicked villains—the whole socking out a message of exemplary struggle and courage.—Lois Wheeler Snow, 1972The study of Asian theatre as an academic field independent of English and Asian Studies arose in the West, particularly the United States, after World War II, in part as a result of the U.S. occupation of Japan and cold war–era funding policies aimed at spreading democracy in Asia. The notable exception was research on theatre in the People's Republic of China (PRC), which was restrained by the McCarthyist Red Scare, which greatly constricted China studies, and the PRC's self-imposed closure to the West, which made field and archival research virtually impossible. However, these conditions changed dramatically in the early and mid-1970s when the combined effect of China's midcourse correction during the Cultural Revolution (1966–76) and Nixon's 1972 trip to China prompted a small boom in the translation, publication, reporting, and research of Chinese plays and performance. At the same time, as the two epigraphs above indicate, this first group of writings on Chinese theatre was made largely problematic by a number of factors: the inherently ideological nature of Chinese theatre during the Cultural Revolution; the diverse ideological, academic, and theatrical background of the authors working on the subject during a similarly volatile era in the West; an overreliance on official Chinese publications (usually as the only source available); and restricted access to China for all but a small number of Westerners. Although insightful and well-researched writings certainly existed, much of this body of work reflects the ideological preoccupations of Euro-American intellectuals in the cold war era. The latter manifested themselves either through oversimplified condemnation of communist theatre as artless propaganda or through radical leftist eulogy of China's supposed success in combining theatre and ideology, making theatre serve the people, and promoting amateur performance to stimulate production.
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Khisamutdinov, A. A. "Serebrennikovs from Irkutsk and Russian Science in Tianjin/Tientsin." Bulletin of Irkutsk State University. Series History 37 (2021): 69–75. http://dx.doi.org/10.26516/2222-9124.2021.37.69.
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This publication is dedicated to the Russian China Studies in Tianjin by Ivan Innokent’evich Serebrennikov (1882–1953, Tianjin, China) and his wife, Alexandra Nikolaevna (1883 – 1975, San Francisco, USA), who left considerable traces in the literary life of Russian China. He was an active member of the East-Siberian department of the Russian Geographical Society, the secretor of the City of Irkutsk Duma, the minister in the Siberia Government and in A. Kolchak’s Government. His wife graduated from the Irkutsk women’s high school, worked for the “Sibir” newspaper, after the February revolt she was elected as a deputy for the City of Irkutsk Duma. Ivan Serebrennikov and his wife arrived in Harbin in March 1920 intending to go in for literature, researches, studying China. He published some historical works on the civil war history alongside with his memoirs. That period his diaries were not regular, he made notes but occasionally. The obvious reason for that was the spouses didn’t know where to live. In spring 1922 having come to Tianjin both Serebrennikovs started teaching. A. Serebrennikova worked as a teacher of Russian language and literature, she also did lecturing and published her articles in some periodicals. Since 1937 she had been busy with translating Chinese poetry from English into Russian using British editions. The main interests of I. Serebrennikov were in history and orient studies. He analyzed the political and economic situation, prepared materials for American scholars. Some of them – Harold H. Fisher (Stanford Univ., Hoover Inst.), Charles P. Howland (Yale Univ.) – used Serebrennikov’s analyses in their researches. But the main I. Serebrennikov’s work is his diaries which remain unpublished up to now. Since 1931 he had made his notes daily – at first with a straight and beautiful handwriting. Then, after he had got a stroke, the letters became uneven and looked like unreadable signs. At last his wife wrote for him under his dictating. The diaries keep the evidence of many events, such as the civil war in Russia and the beginning of communists’ regime, ethnical conflicts in China, the influence of Japan, USA and other countries. Also, in this article the oriental journal “Vestnik Azii Herald of China” is described.
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Moorehead, Sanae Kawaguchi, and Greg Robinson. "On the Brink of Evacuation: The Diary of an Issei Woman, by Fuki Endow Kawaguchi." Prospects 28 (October 2004): 359–82. http://dx.doi.org/10.1017/s036123330000154x.
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One of the most significant gaps in our historical understanding of the expulsion and incarceration of West Coast Japanese Americans during World War II is a knowledge of how Japanese Americans themselves perceived events as they occurred. Former camp inmates have produced an enormous corpus of literature, particularly in the last thirty years, dealing with their wartime experience, including oral histories, memoirs, essays, plays, poetry, and fiction. These have provided valuable insight as to how the government's policy played out in the lives of its victims, and have included a store of information useful in reconstructing the overall camp experience. Still, memoirs are by their nature products of hindsight and recollection, formed of material drawn from the untidy storehouse of human memory. They inevitably give an incomplete and less than trustworthy accounting of past sensations, especially the traumatic emotions and painful human relations that characterized the wartime Japanese American experience. In contrast, the contemporary written record of the wartime Japanese American experience is both relatively sparse and uneven. Surviving letters, essays, and journals stress the experience of the Nisei, American-born citizens of Japanese ancestry, who comprised the majority of camp inmates. Members of the immigrant Issei generation, less long-lived and fluent in English than their children, have produced little material despite various efforts to create Issei archival and oral history collections. Such documents by the Issei as do exist are generally in Japanese and are thereby impenetrable to the vast majority of scholars in the United States.
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Prytoliuk, Svitlana. "CONCEPTUALIZATION OF THE NOTION “MAGICAL REALISM” IN GERMAN LITERATURE." Research Bulletin Series Philological Sciences 1, no. 193 (April 2021): 252–59. http://dx.doi.org/10.36550/2522-4077-2021-1-193-252-259.
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The article is devoted to the study of magical realism in German literary criticism, the origins of the term and its conceptual principles are considered. The author of the article relies on the research of German scientists, in particular M. Scheffel, D. Kirchner, H. Roland, T.W. Leine, M. Niehaus, J. Schuster and notes the differences and contradictions in the interpretation of the term, the vagueness of the concept and its heterogeneity. It is emphasized that the period of formation of the magic-realistic method of writing in Germany in the historical perspective generally covers the period from 1920 to 1960 and includes the beginning of the era of National Socialism and the Second World War. In German literature, the term was not immediately established, its assertion and dissemination were hampered by several factors: first, its contradiction, because it combines semantically opposite concepts – “realism”, which directly correlates with reality, the true image of reality, and “magical”, based on the supernatural, fantastic, reaching beyond reality; second, the moment of its origin falls on a rather complex and contradictory period of German history, which is reluctantly mentioned or silenced; third, magical realism has sometimes been mistakenly identified with the notion of “Neue Sachlichkeit”. Analysis of all factors shows that the origin and formation of the magic-realistic method in German literature has its own characteristics and uniqueness and differs from the world-famous examples of Latin American or English literature. As a result, the author notes that German magical realism is historically determined and in many of its examples reflects the traumatic postwar experience with a pronounced inrospectivity and humanistic orientation. As an aesthetic concept, magical realism expands the boundaries of realism: by depicting the objective world in its real dimensions, it focuses its gaze on the unreality hidden behind real objects.
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Langlands, Rebecca. "Latin Literature." Greece and Rome 61, no. 1 (March 4, 2014): 118–22. http://dx.doi.org/10.1017/s0017383513000284.
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First up for review here is a timely collection of essays edited by Joseph Farrell and Damien Nelis analysing the way the Republican past is represented and remembered in poetry from the Augustan era. Joining the current swell of scholarship on cultural and literary memory in ancient Greece and Rome, and building on work that has been done in the last decade on the relationship between poetry and historiography (such as Clio and the Poets, also co-edited by Nelis), this volume takes particular inspiration from Alain Gowing's Empire and Memory. The individual chapter discussions of Virgil, Ovid, Propertius, and Horace take up Gowing's project of exploring how memories of the Republic function in later literature, but the volume is especially driven by the idea of the Augustan era as a distinct transitional period during which the Roman Republic became history (Gowing, in contrast, began his own study with the era of Tiberius). The volume's premise is that the decades after Actium and the civil wars saw a particularly intense relationship develop with what was gradually becoming established, along with the Principate, as the ‘pre-imperial’ past, discrete from the imperial present and perhaps gone forever. In addition, in a thought-provoking afterword, Gowing suggests that this period was characterized by a ‘heightened sense of the importance and power of memory’ (320). And, as Farrell puts it in his own chapter on Camillus in Ovid's Fasti: ‘it was not yet the case that merely to write on Republican themes was, in effect, a declaration of principled intellectual opposition to the entire Imperial system’ (87). So this is a unique period, where the question of how the remembering of the Republican past was set in motion warrants sustained examination; the subject is well served by the fifteen individual case studies presented here (bookended by the stimulating intellectual overviews provided by the editors’ introduction and Gowing's afterword). The chapters explore the ways in which Augustan poetry was involved in creating memories of the Republic, through selection, omission, interpretation, and allusion. A feature of this poetry that emerges over the volume is that the history does not usually take centre stage; rather, references to the past are often indirect and tangential, achieved through the generation and exploitation of echoes between history and myth, and between past and present. This overlaying crops up in many guises, from the ‘Roman imprints’ on Virgil's Trojan story in Aeneid 2 (Philip Hardie's ‘Trojan Palimpsests’, 117) to the way in which anxieties about the civil war are addressed through the figure of Camillus in Ovid's Fasti (Farrell) or Dionysiac motifs in the Aeneid (Fiachra Mac Góráin). In this poetry, history is often, as Gowing puts it, ‘viewed through the prism of myth’ (325); but so too myth is often viewed through the prism of recent history and made to resonate with Augustan concerns, especially about the later Republic. The volume raises some important questions, several of which are articulated in Gowing's afterword. One central issue, relating to memory and allusion, has also been the subject of some fascinating recent discussions focused on ancient historiography, to which these studies of Augustan poetry now contribute: How and what did ancient writers and their audiences already know about the past? What kind of historical allusions could the poets be expecting their readers to ‘get’? Answers to such questions are elusive, and yet how we answer them makes such a difference to how we interpret the poems. So Jacqueline Febre-Serris, for instance, argues that behind Ovid's spare references to the Fabii in his Fasti lay an appreciation of a complex and contested tradition, which he would have counted on his readers sharing; while Farrell wonders whether Ovid, by omitting mention of Camillus’ exile and defeat of the Gauls, is instructing ‘the reader to remember Veii and to forget about exile and the Gauls’ or whether in fact ‘he counts on having readers who do not forget such things’ (70). In short this volume is an important contribution to the study of memory, history, and treatments of the past in Roman culture, which has been gathering increasing momentum in recent years. Like the conference on which it builds, the book has a gratifyingly international feel to it, with papers from scholars working in eight different countries across Europe and North America. Although all the chapters are in English, the imprint of current trends in non-Anglophone scholarship is felt across the volume in a way that makes Latin literature feel like a genuinely and excitingly global project. Rightly, Gowing points up the need for the sustained study of memory in the Augustan period to match that of Uwe Walter's thorough treatment of memory in the Roman republic; Walter's study ends with some provocative suggestions about the imperial era that indeed merit further investigation, and this volume has now mapped out some promising points of departure for such a study.
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Edwards, Karen L., Peter Coss, Michael Hicks, Graham Parry, R. C. Richardson, Myron D. Yeager, V. G. Kiernan, et al. "Reviews: Written Work: Langland, Labor, and Authorship, England's Empty Throne: Usurpation and the Language of Legitimation 1399–1422, Sermons at Court: Politics and Religion in Elizabethan and Jacobean Preaching, the Making of Jacobean Culture, the Historical Imagination in Early Modern Britain: History, Rhetoric and Fiction, 1500–1800, Romantic Writing and Pedestrian Travel, the Scottish Invention of English Literature, Dante and the Victorians, George Eliot and Italy: Literary, Cultural and Political Influences from Dante to the Risorgimento, the Imperial Game: Cricket, Culture and Society, Ideologies of Epic: Nation, Empire and Victorian Epic Poetry, Professional Domesticity in the Victorian Novel: Women, Work and Home, Women's Fiction between the Wars: Mothers, Daughters and Writing, British Women Writers of World War II: Battleground of Their Own, the Tyranny of the Discrete: A Discussion of the Problems of Local History in England, Issues of Regional Identity: In Honour of John Marshall, Imperial Cities: Landscape, Display and Identity, Figural Realism: Studies in the Mimesis Effect, Criticism and Modernity: Aesthetics, Literature and Nations in Europe and its AcademiesJusticeSteven and Kerby-FultonKathryn (eds), Written Work: Langland, Labor, and Authorship , University of Pennsylvania Press, pp. 347, £42.75.StrohmPaul, England's Empty Throne: Usurpation and the Language of Legitimation 1399–1422 , Yale University Press, 1998, pp. xiv + 274, £25.McCulloughPeter E., Sermons at Court: Politics and Religion in Elizabethan and Jacobean Preaching , Cambridge University Press, 1998, pp. xv + 237, £35PerryCurtis, The Making of Jacobean Culture , Cambridge University Press, 1997, pp. xiv + 281, £35.KelleyDonald R. and SacksDavid Harris (eds), The Historical Imagination in Early Modern Britain: History, Rhetoric and Fiction, 1500–1800 , Woodrow Wilson Center Press/Cambridge University Press, 1997, pp. xii + 374, £50.JarvisRobin, Romantic Writing and Pedestrian Travel , Macmillan, 1997, pp. x + 246, £45.CrawfordRobert (ed.), The Scottish Invention of English Literature , Cambridge University Press, 1998, pp. 259, £35.MilbankAlison, Dante and the Victorians , Manchester University Press, 1998, pp. ix + 277, £45.00ThompsonAndrew, George Eliot and Italy: Literary, Cultural and Political Influences from Dante to the Risorgimento , Macmillan, 1998, pp. x + 243, £42.50.SandifordKeith A. and StoddartBrian (eds), The Imperial Game: Cricket, Culture and Society , Manchester University Press, 1998, pp. viii + 178, £40.00.GrahamColin, Ideologies of Epic: Nation, Empire and Victorian Epic Poetry , Manchester University Press, 1998, pp. 194, £40.CohenMonica F., Professional Domesticity in the Victorian Novel: Women, Work and Home , Cambridge University Press, 1998, pp. 216, £35.InghamHeather, Women's Fiction Between the Wars: Mothers, Daughters and Writing , Edinburgh University Press, 1998, pp. 180, £40, £14.95 pbLassnerPhyllis, British Women Writers of World War II: Battleground of Their Own , Macmillan, 1998, pp. 293, £45.MarshallJ. D., The Tyranny of the Discrete: A Discussion of the Problems of Local History in England , Scolar Press, 1997, pp. vii + 152, £40RoyleEdward (ed.), Issues of Regional Identity: In Honour of John Marshall , Manchester University Press, 1998, pp. xi + 252, £40.DriverFelix and GilbertDavid (eds), Imperial Cities: Landscape, Display and Identity , Manchester University Press, 1999, pp. 283, £45.WhiteHayden, Figural Realism: Studies in the Mimesis Effect , Johns Hopkins University Press, 1999, pp. 205, £31.50.DohertyThomas, Criticism and Modernity: Aesthetics, Literature and Nations in Europe and its Academies , Oxford University Press, 1999, pp. vi + 248, £40." Literature & History 9, no. 1 (May 2000): 96–116. http://dx.doi.org/10.7227/lh.9.1.8.
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