Literatura científica selecionada sobre o tema "Nature stories, american – history and criticism"
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Artigos de revistas sobre o assunto "Nature stories, american – history and criticism"
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Chernyshova, Svitlana. "The US migratory novel: toward the ideology of genre". Journal of V. N. Karazin Kharkiv National University, Series "Philology", n.º 92 (15 de agosto de 2023): 51–56. http://dx.doi.org/10.26565/2227-1864-2023-92-07.
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This article focuses on the US migratory novel and the reasons it has been overlooked in literary scholarship. It is emphasized that the study of migration experience is important as it represents the worldview of historical subjects who, although they contributed a lot to the building of the New World, always existed on the margins of both real life and fiction. Literary scholars concentrated on the fictional images of colonizers, builders of a new world order, pioneers, farmers, cowboys, but not immigrants as such, although all these identities of American history were rooted in the migration experience, whether of their own or of their parents or grandparents. The aim of this article is to draw attention to the genre of the American migratory novel, which is underrepresented in literary criticism, and to identify the connection between migration literary discourse and the ideological regimes of specific historical periods. Nevertheless, migratory fiction serves as a powerful tool for negotiating narrow group representations within the larger receiving community. By depicting the experiences, challenges, and aspirations of migrants, it offers a platform to explore the complexities of cultural identity, displacement, and assimilation. Migratory fiction challenges the dominant narratives and stereotypes imposed upon migrant communities, seeking to humanize their stories and promote empathy and understanding among the receiving community. These narratives navigate the fine balance between preserving the unique cultural heritage of migrants and engaging with the broader context of their new surroundings. They challenge existing notions of national identity, fostering a more inclusive and diverse understanding of what it means to be American. A perspective for further research is the analysis of migration experience in literary writings and its correlation with developments in other fields of humanities. As migratory fiction expands our horizons, encouraging us to embrace and celebrate the multifaceted nature of diversity in all its forms.
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Nye, David E. "Technology, Nature, and American Origin Stories". Environmental History 8, n.º 1 (janeiro de 2003): 8. http://dx.doi.org/10.2307/3985970.
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Draus-Kłobucka, Agata. "Las polacas w Buenos Aires: prostytutki w historii i kulturze". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 21 (23 de dezembro de 2021): 272–90. http://dx.doi.org/10.24917/20811853.21.15.
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The article discusses the literary and cultural uses of so-called white slavery – the prostitution and pimping in the Americas (especially in South America) of women from Eastern Europe at the turn of the 19th and 20th centuries. This motif, tragically linking the history of Poland and Argentina, is associated with historiographic, literary, and sociological research. The article analyses various attitudes of historians towards the issue and the scope of ideological issues (in particular, the issue of anti-Semitism) and criticises the impact of the specificity of media coverage on the sensational nature of reports on the white slave trade. The main aim of the work is to present to the Polish reader both the historical context and the literary and cultural realisations of the subject in a multi-faceted manner, especially since only a few works have been translated into Polish. The second goal is to identify repetitions in prose, dramas, and audio-visual texts depicting the stories of Eastern European prostitutes in South America.
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Huguet, Montserrat. "The US American Self-criticism. Stories of Anger and Bewilderment". REDEN. Revista Española de Estudios Norteamericanos 1, n.º 1 (30 de novembro de 2019): 49–74. http://dx.doi.org/10.37536/reden.2019.1.1373.
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Criticism to the system is a core place in the US American culture.The self-criticism gets its roots in the permanent restlessness of the American People, in their fears, in their dissatisfaction, and even in their insane self-destructive behabiour. Many episodes in the American history have worked out from attitudes of paranoia, disgust or anger towards communities or the public administration. The natural rhythm of society in the United States is far from acceptance and calm. On the contrary, the US history is defined by restlessnees and doubious sentiments. Thus, one might think that the American dream is fundamentally a state of permanent crisis in which people, unable to deal with their present vital conditions, transmute these conditions into havoc and creation. In the pages of this article, a breaf tour into the historical and cultural trend of discouragement is offered. It also pays attention to the American ability to self-analyze its own historical experiences. The fictionated stories, that come from the imagination but also from people’s voices and memories, convey a sense of dissatisfaction and of struggle to improve the American way of behaving. Those citizens, especially uncomfortable with themselves or with the administration, may not be aware that they are precisely those who constitute the best US image abroad. In the ostentation of a self- criticism, of a subversive thought, these Americans, opposed to the official positions,feature the virtue of the relentless self-purge.Therefore,looking at past and present times, this paper is composed by six related arguments that rely on both historical events and fictionated stories, with the titles of: “Under the paranoid style”; “The angry nation”, “Hate: Public Limited Company”, “Images of anger”, “Guilty, ashamed and redeemed”, and “The legacy of disenchantment”.
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Reid, Margaret. "Narrative Silence in America's Stories". Keeping Ourselves Alive 3, n.º 2-3 (1 de janeiro de 1993): 269–81. http://dx.doi.org/10.1075/jnlh.3.2-3.11nar.
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Abstract In the historical event of the American Revolution, as well as in certain central texts of the American literary imagination, a tension between the power of a community to define itself through language and the resistance of experiential history to such enclosure is represented through a particular form of narrative silence. This narrative form may first suggest repression and the failures of memory. But the American imagination has used narrative silence as a way of representing events that lie outside of the known and planned, in order to preserve the residual life of experience and so to bear witness to the imagina-tion's dependence on the whole of history. In this essay, I argue that this narrative form reveals a central paradox of the American cultural imagination: This imagination successfully encodes its story of community exactly insofar as it creates a place—in language and in thought—for the safely silent acknowl-edgement of the power of experiential knowledge and untold secrets. (Culture studies; literary criticism)
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Dauber, Jeremy. "Comic Books, Tragic Stories: Will Eisner’s American Jewish History". AJS Review 30, n.º 2 (27 de outubro de 2006): 277–304. http://dx.doi.org/10.1017/s0364009406000134.
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In recent years, we have witnessed a significant increase in writing by scholars and literary and cultural critics on the genre of the comic book, corresponding to an increased legitimacy given to the comic book industry and its writers and artists more generally. Part of this phenomenon no doubt stems from the attention lavished on the field by mainstream fiction and nonfiction writers who consider comic books a central part of their own and America’s cultural heritage, such as Michael Chabon and Jonathan Lethem. It may also stem from the changing nature of the industry’s finances, which now employ a “star system” revolving around writers and artists, not merely the major companies’ storied characters; though the days of the big houses that control the major characters are by no means gone, in the last two decades, numerous specialty imprints have been developed to publish characters that are owned outright by writers and artists, to say nothing of profit-sharing deals with major stars, even at some of the major companies.
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Pérez-Torres, Rafael. "Gatekeeping Stories of Dissent and Mobility". American Literary History 31, n.º 2 (2019): 312–24. http://dx.doi.org/10.1093/alh/ajz012.
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AbstractThree new studies consider the significance of storytelling in a Latinx and hemispheric American context around the turn of the millennium. Where neoliberal policies seem to position ethnoracial subjectivities in realms of social abjection or racial containment, these studies contribute to interdisciplinary conversations about racial affiliation, economic aspiration, and political dissent in literature. Each considers writers either engaging complex negotiations between racial and class affiliations, challenging social expectations for cultural products in an ethnic marketplace, or speaking against repressive governmental regimes. Each weighs a hope for transformative social change against the efficient, impersonal, even brutal management of modern ethnoracial otherness. Elda Román analyzes stories about upward mobility for racially or ethnically identified characters who strive to maintain a critical sense of racial affiliation while seeking greater social and class mobility. Since forms like magical realism often mark the ethnic identification of an author, Christopher González considers how unexpected or challenging narrations break down restrictive perceptions of what Latinx literature can be. Theresa Longo, deliberating over a radical Latin American literature of dissent distributed to US audiences by small publishing houses, sketches an intellectual history of radical thought in the Americas that has informed a dominant strain of US Latinx criticism.
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Lykins, Maxwell J. "Servile Stories and Contested Histories: Empire, Memory, and Criticism in Livy’s Ab Urbe Condita". Polis: The Journal for Ancient Greek and Roman Political Thought 40, n.º 2 (25 de abril de 2023): 282–303. http://dx.doi.org/10.1163/20512996-12340409.
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Abstract Scholars often turn to Livy’s famous digression on Aulus Cossus and the spolia opima (4.17–20) to shed light on his larger political inclinations. These readings generally regard Livy as either an Augustan (or at least a patriotic Roman) or an apolitical skeptic. Yet neither view, I argue, fully explains the Cossus affair. What is needed is an interpretation that recognizes the political nature of the Cossus digression and its skepticism toward Augustus. Attending to Livy’s rhetorical strategy in the digression allows us to see it as an instance of oblique criticism of Augustus and his control over Roman life. The explanatory power of this reading extends to episodes from the life of Romulus as well. I argue Livy uses these stories to make a theoretical argument about the nature of despotism, namely, that it seeks to control narratives of the past just as much as it aims for political domination.
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de Groot, Renee. "What If the Pen Was Mightier Than the Sword? Civil War Alternate History as Social Criticism". aspeers: emerging voices in american studies 10 (2017): 55–75. http://dx.doi.org/10.54465/aspeers.10-06.
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Alternate histories about the American Civil War seem ideally set up to explore the possibilities and tensions of social criticism through art and literature. Counterfactual stories about the war easily invoke contemporary issues of inequality and exploitation, and they are part of a genre—alternate history—that has traditionally lent itself to social commentary. Yet while scholarship on alternate history has captured the presentist orientation of many alternate histories in the fantasy-nightmare dichotomy, these categories appear reductive as a reflection of the layered and intriguing forms social criticism takes in Civil War alternate history. This article examines two examples of this genre that position themselves as political statements. Frank Purdy Williams’s largely forgotten novel Hallie Marshall: A True Daughter of the South (1900) subverts major literary traditions of its time to mount a counterintuitive critique of capitalist exploitation. Kevin Willmott’s mockumentary C.S.A.: The Confederate States of America (2004) is both a scathing critique of American racism and a multilayered satire on the distortion of history in popular culture. Both works use the conventions of alternate history as conduits for critique and provocation, which makes the revelation of their ideological investments ingenious but perhaps dangerously circuitous.
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Frymus, Agata. "Researching Black women and film history". Alphaville: Journal of Film and Screen Media, n.º 20 (27 de janeiro de 2021): 228–36. http://dx.doi.org/10.33178/alpha.20.18.
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My project (Horizon 2020, 2018–20) traces Black female moviegoing in Harlem during the silent film era. The main challenge in uncovering the women’s stories is that historical paradigm has always prioritised the voices of the white, middle-class elite. In the field of Black film history, criticism expressed by male journalists—such as Lester A. Walton of New York Age—has understandably received the most attention (Everett; Field, Uplift). Black, working-class women are notoriously missing from the archive. How do we navigate historical records, with their own limits and absences? This paper argues for a broader engagement with historic artefacts—memoirs, correspondence and recollections—as necessary to re-centre film historiography towards the marginalised. It points to the ways in which we can learn from the scholars and methods of African American history to “fill in the gaps” in the study of historical spectatorship.
Teses / dissertações sobre o assunto "Nature stories, american – history and criticism"
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Bell, Lucy Amelia Jane. "Configurations of the fragment : the Latin American short story at its limits". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607767.
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Shishkin, Timur. "Marginalized Characters in Contemporary American Short Fiction". PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/297.
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The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.
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Young, Erin S. "Corporate heroines and utopian individualism: A study of the romance novel in global capitalism". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11460.
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x, 195 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This dissertation explores two subgenres of popular romance fiction that emerge in the 1990s: "corporate" and "paranormal" romance. While the formulaic conventions of popular romance have typically centralized the gendered tension between hero and heroine, this project reveals that "corporate" and "paranormal" romances negotiate a new primary conflict, the tension between work and home in the era of global capitalism. Transformations in political economy also occur at the level of personal and emotional life, which constitute the central problem that contemporary romances attempt to resolve. Drawing from sociological studies of globalization and intimacy, feminist criticism, and queer theory, I argue that these subgenres mark the transition from what David Harvey calls Fordist capitalism to flexible or global capitalism as the primary social condition negotiated in the popular romance. My analysis demonstrates that corporate and paranormal romance novels reflect changing ideals about intimacy in a globalized world that is increasingly influenced, socially and culturally, by the values and philosophies that dominate the marketplace. Each of these subgenres offers a distinct formal resolution to the cultural and social effects of a flexible capitalist economy. The "corporate" romances of Jayne Ann Krentz, Nora Roberts, Elizabeth Lowell, and Katherine Stone feature heroines who constantly navigate the dual and intersecting arenas of work and home in an effort to locate a balance that leads to success and happiness in both realms. In contrast, the "paranormal" romances of Laurell K. Hamilton, Charlaine Harris, Kelley Armstrong, and Carrie Vaughn dissolve the tension between home and work, or the private and the public, by affirming the heroine's open and endless pursuit of pleasure, adventure, and self-fulfillment. Such new forms of romantic fantasy at once reveal the tension in globalization and the domination of corporate and masculinist values that the novels hope to overcome.
Committee in charge: David Leiwei Li, Chair; Mary Elene Wood; Cynthia H. Tolentino; Jiannbin L. Shiao
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Cleveland, William. ""Why is Everyone So Interested in Texts?": The Shifting Role of the Reader in the Genre of Hard-boiled Fiction". Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/ClevelandW2007.pdf.
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Strecker, Geralyn. "Reading prostitution in American fiction, 1893-1917". Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213148.
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Many American novels of the late nineteenth and early twentieth centuries discuss prostitution. Some works like Reginald Wright Kauffman's The House of Bondage, (1910) exaggerate the threat of "white slavery," but others like David Graham Phillips's Susan Lenox: Her Fall and Rise (1917) more honestly depict the harsh conditions which caused many women to prostitute themselves for survival. Contemporary critical interpretations of novels addressed in this dissertation began before major shifts in women's roles in the workplace, before trends towards family planning, before women could respectably live on their own, and especially before women won the right to vote. Yet, a century of progress later, this vestigal criticism still influences our study of these texts.Relying on primary source materials such as prostitute autobiographies and vice commission reports, I compare fictional representations of prostitution to historical data, focusing on the prostitute's voice and her position in society. I examine actual prostitutes' life stories to dispel the misconception that prostitution was always a lower-class business. My chapters are ordered in regards to the prominence of the prostitute characters' voices: in Stephen Crane's Maggie: A Girl of the Streets (1893) the heroine seldom speaks for herself; in two Socialist novels--Upton Sinclair's The Jungle (1906) and Estelle Baker's The Rose Door (1911)--prostitutes debate low wages, political corruption, and organized vice; and in Phillips's Susan Lenox, the title character is almost always allowed to speak for herself, and readers can see what she is thinking as well as doing. As my chapters progress, I demonstrate how the fictions become more like the prostitutes' own autobiographies, with self-reliant women telling their stories without shame or remorse. My conclusion, "Revamping `Fallen Women' Pedagogy for Teaching American Literature," suggests how social history and textual scholarship of specific "fallen women" novels should affect our teaching of these texts.Department of English
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Sipley, Tristan Hardy 1980. "Second nature: Literature, capital and the built environment, 1848--1938". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10911.
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x, 255 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This dissertation examines transatlantic, and especially American, literary responses to urban and industrial change from the 1840s through the 1930s. It combines cultural materialist theory with environmental history in order to investigate the interrelationship of literature, economy, and biophysical systems. In lieu of a traditional ecocritical focus on wilderness preservation and the accompanying literary mode of nature writing, I bring attention to reforms of the "built environment" and to the related category of social problem fiction, including narratives of documentary realism, urban naturalism, and politically-oriented utopianism. The novels and short stories of Charles Dickens, Herman Melville, Rebecca Harding Davis, Charlotte Perkins Gilman, Upton Sinclair, and Mike Gold offer an alternative history of environmental writing, one that foregrounds the interaction between nature and labor. Through a strategy of "literal reading" I connect the representation of particular environments in the work of these authors to the historical situation of actual spaces, including the western Massachusetts forest of Melville's "Tartarus of Maids," the Virginia factory town of Davis's Iron Mills, the Midwestern hinterland of Sinclair's The Jungle, and the New York City ghetto of Gold's Jews without Money. Even as these texts foreground the class basis of environmental hazard, they simultaneously display an ambivalence toward the physical world, wavering between pastoral celebrations and gothic vilifications of nature, and condemning ecological destruction even as they naturalize the very socio-economic forces responsible for such calamity. Following Raymond Williams, I argue that these contradictory treatments of nature have a basis in the historical relationship between capitalist society and the material world. Fiction struggles to contain or resolve its implication in the very culture that destroys the land base it celebrates. Thus, the formal fissures and the anxious eruptions of nature in fiction relate dialectically to the contradictory position of the ecosystem itself within the regime of industrial capital. However, for all of this ambivalence, transatlantic social reform fiction of the late-nineteenth and early-twentieth century provides a model for an environmentally-oriented critical realist aesthetic, an aesthetic that retains suspicion toward representational transparency, and yet simultaneously asserts the didactic, ethical, and political functions of literature.
Committee in charge: William Rossi, Chairperson, English; Henry Wonham, Member, English; Enrique Lima, Member, English; Louise Westling, Member, English; John Foster, Outside Member, Sociology
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Tapley, Lance. "A Universal and Free Human Nature: Montaigne, Thoreau, and the Essay Genre". Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/TapleyL2002.pdf.
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Potts, Dale E. "Woods Voices, Woods Knowledge: Work and Recreation in the Popular Literature of the Northeastern Forest, 1850-1963". Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/PottsDE2007.pdf.
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Zachik-Smith, Susie. "Romance by the book: A morphological analysis of the popular romance". CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/810.
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Robinson, Laura M. "Educating the reader, negotiation in nineteenth-century popular girls' stories". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ27853.pdf.
Texto completo da fonteLivros sobre o assunto "Nature stories, american – history and criticism"
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Quirk, Tom. Mark Twain and human nature. Columbia: University of Missouri Press, 2007.
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Brian, Richardson. Unlikely stories: Causality and the nature of modern narrative. Newark: University of Delaware Press, 1997.
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Myers, Jeffrey. Converging stories: Race, ecology, and environmental justice in American literature. Athens: University of Georgia Press, 2005.
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H, Lutts Ralph, ed. The wild animal story. Philadelphia: Temple University Press, 1998.
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Nelson, Barney. The wild and the domestic: Animal representation, ecocriticism, and western American literature. Reno: University of Nevada Press, 2000.
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Collins, Carolyn Strom. Inside The secret garden: A treasury of crafts, recipes, and activities. New York: HarperCollinsPublishers, 2001.
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Bixler, Phyllis. The secret garden: Nature's magic. New York: Twayne Publishers, 1996.
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Collins, Carolyn Strom. Inside the Secret Garden: A Treasury of Crafts, Recipes, and Activities. New York: HarperCollinsPublishers, 2001.
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Thoreau, Henry David. An American landscape. New York: Paragon House, 1991.
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Thoreau, Henry David. An American landscape. New York: Marlowe & Co., 1995.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Nature stories, american – history and criticism"
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Kartal, Semiha. "The Journey Of Love(Before Sunrise/Before Sunset/Before Midnight)". In Architecture in Cinema, 159–64. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010020.
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In the Richard Linklater film series, one of the examples of independent cinema, the journeys of two American and French young people who met on the train during their European trips are described with architectural details. In the film series featuring the same director and actors, the architectural identities of Vienna, Paris, and Greece are presented with their natural and built environments. The intensity of emotion that can be called “First Love” in this work was experienced in Vienna. It is possible to see the relationship established by culture, art, and architecture with its buildings, avenues, streets, palaces, squares, cemeteries, fountains, and sculptures in this city. Various styles of the history of art and architecture, ranging from a Gothic cathedral to Baroque buildings, have been visualized through this film. It is possible to say that these styles differ from each other in terms of form and content, as well as the aesthetic values they add to the city. In the city, traces of eclecticism can be seen, reflecting the complexity of the intellectual environment, which is the subject of criticism by architects. In this context, the story of two young people presenting the history and texture of the city with a visual feast on the streets of Vienna also showed the relationship established by architecture and cinema. While describing 'Love', the frames in which the unique architectural beauties of the city are exhibited have presented how the art of cinema uses the architectural elements that are the language of the city in a visual dimension. In this context, it is possible to say that the art of cinema, which visualizes the stories of cities as living organisms, effectively uses architecture to contribute to its memory.
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Gates, Henry Louis. "Good-bye, Columbus? Notes on the Culture of Criticism". In The American Literary History Reader, 245–61. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195095043.003.0012.
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Abstract I recently asked the dean of a prestigious liberal arts college if he thought that his school would ever have, as Berkeley has, a majority nonwhite enrollment. “Never,” he replied candidly. “That would completely alter our identity as a center of the liberal arts.” The assumption that there is a deep connection between the shape of a college curriculum and the ethnic composition of its students reflects a disquieting trend in American education. Political representation has been confused with the “representation” of various ethnic identities in the curriculum, while debates about the nature of the humanities and core curricula have become marionette theaters for larger political concerns. The cultural right, threatened both by these demographic shifts and by the demand for curricular change, has retreated to a stance of intellectual protectionism, arguing for a great and inviolable “Western tradition” which contains the seeds, fruit, and flowers of the very best that has been thought or uttered in human history. The cultural left demands changes to accord with population shifts in gender and ethnicity (along the way often providing searching indictments of the sexism and racism that have plagued Western culture and to which the cultural right sometimes turns a blind eye). Both, it seems to me, are wrongheaded.
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Taylor, Melanie Benson. "Doom and Deliverance: Faulkner’s Dialectical Indians". In Faulkner and the Native South, 33–49. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496818096.003.0003.
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Most critics and historians agree that Faulkner’s Indian characters are outrageous mystifications drawn from popular misperceptions and unspoken ideologies. While he famously admitted that he “made up” his Indians, numerous scholars have wondered whether such a shrewd student of Mississippi history could have ignored the facts entirely. This chapter suggests that the reality lies somewhere in between—purposefully and revealingly so. Faulkner’s Indians occupy the dialectical space between the wreckage of the South’s colonial histories and the rapacities of the capitalist future; they are despicably “other” even as they are uncannily, frighteningly kindred. Departing from the standard focus on Faulkner’s so-called “Indian stories,” this chapter instead uncovers the obscure, uncanny Indians that lurk unseen in his major texts and within his most prominent families and novels. Collectively, these Indians comprise a surprisingly active and pertinent contingent in Faulkner’s modern South: specimens of America’s most luminous possibilities and haunting failures.
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"The Problem of Failure in American History". In The Lost Lectures of C. Vann Woodward, editado por Natalie J. Ring e Sarah E. Gardner, 249–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863951.003.0016.
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C. Vann Woodward’s lecture compares two commemorations of the Civil War fifty years apart, one in 1911 and the other in 1961. The first one reflected sectional reunification predicated on a shared understanding of the tragic nature of war but also a sense that the conflict had solved the problem of sectional animosity. In so doing Woodward notes that whites in the North and South could only accomplish this by excluding meaningful African-American participation. The lecture then outlines the cycles of Reconstruction historiography, and looks at the dual psychological traumas the North and South experienced in the aftermath of Reconstruction. Woodward maintains that after the North emerged victorious from the war it failed to live up to its ideals, leaving wracked guilt, self-criticism, and remorse. The South emerged with a predilection for extortion, indignation, and extreme bellicosity, consistently blaming its own weaknesses on Reconstruction. Woodward suggests that historians should act as therapists, enabling the nation to come to terms with the psychological traumas triggered by the past.
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Rafter, Nicole. "The History of Crime Films". In Shots in the Mirror, 21–60. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195175059.003.0002.
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Abstract Crime films feed our apparently insatiable hunger for stories about crimes, investigations, trials, and punishments. From almost the first moment of moviemaking, film writers and directors realized that nothing pleases audiences more than deception, mayhem, and underdog characters who refuse to be trampled by institutions and laws. The plots of crime films may draw on actual historic events, reproducing celebrated cases while simultaneously fashioning out of the past new heroes for the present. More frequently, crime film plots are fictions that draw on widespread attitudes toward crime, victims, law, and punishment prevalent at the time of the films’ making. Whatever the basis of their stories, crime films reflect the power relations of the context in which they are made--attitudes toward gender, ethnicity, race, and class relations, opinions about fairness and justice, and beliefs about the optimal relationship of the state to individuals. Examining the history of crime films helps explain why different types of crime films flourish at different points in time. By locating movies at some distance, in the social and political contexts in which they were produced, film history enables us to see more clearly movies’ underlying assumptions about the nature of American society.
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Rennie, David A. "Laurence Stallings". In American Writers and World War I, 134–53. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198858812.003.0007.
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Perhaps more than any author, Stallings exemplified the multimedia and collaborative nature of World War I writing in America. Following his bitter anti-war novel Plumes, Stallings co-authored the popular play What Price Glory with Maxwell Anderson, which led to Stallings’s involvement in The Big Parade—one of the most lucrative films of the silent era—and a film adaptation of What Price Glory As well as his diversity of representational forms, Stallings’s war writing was marked by an increasingly positive attitude to warfare, which emerged in his later short stories and his World War I history, The Doughboys.
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Fessenbecker, Patrick. "Introduction: In Defence of Paraphrase". In Reading Ideas in Victorian Literature, 1–38. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474460606.003.0001.
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How did “reading for the message,” a mark of shame among literary critics, yet in many ways an ordinary reading practice, become so marginalized? The origins of this methodological commitment ultimately are intertwined with the birth of literary studies itself . The influential aestheticist notion of “art for art’s sake” has several implications crucial for understanding the intellectual history of literary criticism in the twentieth century: most important was the belief that to “extract” an idea from a text was to dismiss its aesthetic structure. This impulse culminated in the New Critical contention that to paraphrase a text was a “heresy.” Yet this dominant tradition has always co-existed with practical interpretation that was much less formalist in emphasis. A return to the world of American literary criticism in 1947, when Cleanth Brooks’s The Well-Wrought Urn was published, shows this clearly: many now-forgotten critics were already practicing a form of criticism that emphasized literary content, and often overly rejecting Brooks’s insistence that reading for the content or meaning of a poem betrayed its aesthetic nature.
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Kim, Dong Hoon. "Migrating with the Movies: Japanese Settler Film Culture". In Eclipsed Cinema. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421805.003.0004.
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To adequately analyse Joseon cinema’s dual nature as a colonial and pseudo-national cinema against the colonial backdrop, it is indispensable to not only examine Korean elements but also consider the Japanese elements embedded in Joseon cinema. This chapter, therefore, brings to light the film culture of the Japanese settlers, a completely marginalized history in both Korean and Japanese film histories. As the author endeavours to integrate Japanese setters into my account of Joseon cinema, he makes a conscious effort to unearth some key figures from historical obscurity and narrate their stories in order to describe their seminal role in the advancement of Joseon film practices. As the chapter progresses, the discussion gradually expands to probe the overall settler film culture, including movie theatres, film programs, film criticism, and spectators, and its interactions with both Japanese film culture and the film practices of the local Koreans.
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Yandell, Kay. "Engineering Eden in Walt Whitman’s “Passage to India”". In Telegraphies, 129–57. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190901042.003.0006.
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Walt Whitman wrote odes to Morse’s telegraph that present it as a cultural “monument” speaking its nation’s mythic history in the making. His telegraph poems imagine the electromagnetic telegraph to perform a spiritual purpose: for Whitman, the disembodied nature of telegraphy’s virtual realm allows settlers’ voices, and the nation’s mythic origin stories that those voices carry, to spread across, and eventually to soak into, newly colonized American lands. In so doing, telegraphy births a new and specifically American sort of electric oral tradition, which Whitman poetically links to the power of this land’s previous Native American oral traditions to construct spiritual connections to American earth and environments. His poems imagine for American settlers a new type of indigeneity through telegraphy.
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Keel, Terence. "Superseding Christian Truth". In Divine Variations. Stanford University Press, 2018. http://dx.doi.org/10.11126/stanford/9780804795401.003.0003.
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Chapter 2 analyzes scientific criticism leveled against the theory of common human descent beginning in the 1830s. It focuses on the thought of Josiah C. Nott, a southern physician, early epidemiologist, and major figure of the so-called American School of Ethnology. Nott claimed that humanity’s common origin, or monogenesis, was an unscientific belief and a mere carryover from when natural historians were indebted to Christian ideas about nature and human life. Thus, he attempted to establish an account of the history of human racial groups that moved beyond the constraints of the narrative recorded by Moses in the Bible. Despite these secular aspirations Nott ultimately failed to offer an account of race that stood independent of Christian thought. The case of American polygenism illustrates the degree to which modern racial science is indebted to a religious intellectual history it has attempted to deny and supersede.