Готові списки джерел за темами / American literature History and criticism Theory

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Добірка наукової літератури з теми "American literature History and criticism Theory"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 29 січня 2023

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Статті в журналах з теми "American literature History and criticism Theory"

Bucco, Martin, and Rene Wellek. "A History of Modern Criticism 1750-1950. Volume 6: American Criticism 1900-1950." American Literature 59, no. 1 (March 1987): 126. http://dx.doi.org/10.2307/2926495.

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Židová, Diana. "Ethnic Literature and Slovak American Research." Ars Aeterna 6, no. 1 (June 1, 2014): 1–7. http://dx.doi.org/10.2478/aa-2014-0001.

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Abstract The article outlines the beginnings of ethnic literature research in the United States of America with regards to its reception from the 1960s to the 1980s. Aesthetic merit as a leading consideration in the evaluation of literary works, in view of the opinions of numerous critics, is quite problematic to apply in the case of Czech and Polish literature. Considering the output of Slovak-American research in the field of literary criticism and literary history, the results are not satisfactory either. There are a few works that provide valuable insight into the literature of the Slovak diaspora.

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Dawidoff, Robert. "Criticism and American Cultural Repair." American Literary History 1, no. 3 (1989): 665–74. http://dx.doi.org/10.1093/alh/1.3.665.

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Constantinesco, Thomas. "American Literary Criticism in a Time of Pandemic." American Literary History 34, no. 1 (February 1, 2022): 67–76. http://dx.doi.org/10.1093/alh/ajab099.

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Abstract This essay reflects, against the backdrop of the COVID-19 pandemic, on the relevance of literary studies in critical times, as well as on the notion of relevance as a measure of literary history and literary criticism. Drawing on the work of Giorgio Agamben and Wendy Brown, it argues for a model of relevance as untimeliness, where the function of criticism is to derive from literary texts a critical politics that eventually speaks both to these texts’ complex historical context and to their readers’ present and ever-changing circumstances. It then turns to the nineteenth-century archive to illustrate the untimely relevance of American literary history at the present time. While Dickinson might seem to suggest that “To suspend the breath/Is the most we can” (F1067) in a time of crisis, intimating that literature is essentially the record of our helplessness in the unraveling of the world, the example of Emerson’s antislavery lectures, where both the blight of slavery and the cause of abolition are metaphorized as airborne contamination, offer a template for thinking about the dangers as well as the potentialities of viral contagion. American literature . . . captures the “air” or the atmosphere of history and equips us with models to take it in . . . Such is . . . [its] (un)timely relevance . . . at the present time.

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Giles, Paul. "Forms of Opposition in American Literary Criticism." American Literary History 34, no. 1 (February 1, 2022): 158–73. http://dx.doi.org/10.1093/alh/ajab077.

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Abstract Starting from Matthew Arnold’s “The Function of Criticism at the Present Time” (1865), this essay traces the importance of reading US literature and culture in comparative terms. Paying special attention to the work of Stuart Hall, Annette Kolodny, and F. O. Matthiessen, it argues that forms of structural opposition should be seen as embedded within American literature. Rather than understanding the subject itself in merely oppositional terms, it advocates antipodal and planetary critical perspectives that serve effectively to reposition the field within a wider context, one framed in various ways by biogenetic and environmental issues that exceed national boundaries. It concludes that while there are acute dangers for political leaders in a narrowness of vision, the same thing is true for literary criticism, where an undue narrowness of scope can be intellectually debilitating.

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Roberts, R. "American Science Fiction and Contemporary Criticism." American Literary History 22, no. 1 (November 20, 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.

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Murray, L. J. "Escaping from the Pirates: History, Literary Criticism, and American Copyright." American Literary History 16, no. 4 (December 1, 2004): 719–27. http://dx.doi.org/10.1093/alh/ajh040.

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Bentley, Nancy. "Slow Criticism: American Literary Studies as a World." American Literary History 34, no. 1 (February 1, 2022): 387–93. http://dx.doi.org/10.1093/alh/ajab096.

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Abstract The authority of art in US society has declined even as cultural criticism has expanded and diversified, spreading to many sectors of society. While these conditions have affected American literary studies, scholars in the field produce criticism that can be distinguished from the criticism in other sectors by its commitment to historicist thought and by disciplinary standards for what it means to produce a “new reading.”

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Nemoianu, Virgil, and Rene Wellek. "A History of Modern Criticism 1750-1950. Vol. 5: English Criticism, 1900-1950; Vol. 6: American Criticism, 1900-1950." MLN 101, no. 5 (December 1986): 1245. http://dx.doi.org/10.2307/2905719.

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Overton, Bill. "Review: Authors and Authority: English and American Criticism 1750–1990." Literature & History 2, no. 1 (March 1993): 96–97. http://dx.doi.org/10.1177/030619739300200107.

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Дисертації з теми "American literature History and criticism Theory"

Donovan, Kathleen McNerney. "Coming to voice: Native American literature and feminist theory." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186769.

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This dissertation argues that numerous parallels exist between Native American literature, especially that by women, and contemporary feminist literary and cultural theories, as both seek to undermine the hierarchy of voice: who can speak? what can be said? when? how? under what conditions? After the ideas find voice, what action is permitted to women? All of these factors influence what African American cultural theorist bell hooks terms the revolutionary gesture of "coming to voice." These essays explore the ways Native American women have voiced their lives through the oral tradition and through writing. For Native American women of mixed blood, the crucial search for identity and voice must frequently be conducted in the language of the colonizer, English, and in concert with a concern for community and landscape. Among the topics addressed in the study are (1) the negotiation of identity of those who must act in more than one culture; (2) ethnocentrism in ethnographic reports of tribal women's lives; (3) misogyny in a "canonical" Native American text; (4) the ethics of intercultural literary collaboration; (5) commonality in inter-cultural texts; and (6) transformation through rejection of Western privileging of opposition, polarity, and hierarchy.

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Clarke, Joni Adamson. "A place to see: Ecological literary theory and practice." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187115.

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"A Place to See: Ecological Literary Theory and Practice" approaches "American" literature with an inclusive interdisciplinarity that necessarily complicates traditional notions of both "earliness" and canon. In order to examine how "Nature" has been socially constructed since the seventeenth century to support colonialist objectives, I set American literature into a context which includes ancient Mayan almanacs, the Popol Vuh, early seventeenth and eighteenth century American farmer's almanacs, 1992 Nobel Peace Prize winner Rigoberta Menchu's autobiography, the 1994 Zapatista National Liberation army uprising in Mexico, and Leslie Silko's Almanac of the Dead. Drawing on the feminist, literary and cultural theories of Donna Haraway, Carolyn Merchant, and Michel Foucault, Julia Kristeva, Edward Said, Annette Kolodny, and Joseph Meeker, I argue that contemporary Native American writers insist that readers question all previous assumptions about "Nature" as uninhabited wilderness and "nature writing" as realistic, non-fiction prose recorded in Waldenesque tranquility. Instead the work of writers such as Silko, Louise Erdrich, Simon Ortiz, and Joy Harjo is a "nature writing" which explores the interconnections among forms and systems of domination, exploitation, and oppression across their different racial, sexual, and ecological manifestations. I posit that literary critics and teachers who wish to work for a more ecologically and socially balanced world should draw on the work of all members of our discourse community in cooperative rather than competitive ways and seek to transform literary theory and practice by bringing it back into dynamic interconnection with the worlds we all live in--inescapably social and material worlds in which issues of race, class, and gender inevitably intersect in complex and multi-faceted ways with issues of natural resource exploitation and conservation.

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Januzzi, Angela. "Making an "American Classic": Faulkner, Ferber, and the Politics of 20th Century Canon Formation." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/JanuzziA2007.pdf.

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Dowthwaite, James. "Ezra Pound's theory of language." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:b7fdc3da-8442-478f-8dbf-4a401cf29e27.

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This thesis examines Ezra Pound's linguistic theory in relation to literary, philosophical and academic treatments of language in the modernist period. Pound is a central figure in the history of twentieth century literature, and his poetic career marks a sustained engagement with questions of how language can register thought, how it can transmit and communicate images, and, ultimately, how language is able to mediate between artists (or, indeed, language speakers as a whole) and the world. I read Pound's statements on language against the disciplinary history of linguistics, assessing the extent to which his positions are representative of his period, or, conversely, the ways in which they form part of an idiosyncratic worldview. My approach is broadly historical. I begin with Pound's educational background, and move chronologically through his career to the concluding passages of his Cantos. I investigate the extent to which Pound's critical writing engages with new departures taking place in linguistics in the late nineteenth century and the early part of the twentieth century. The scope of my investigation ranges from the legacy of nineteenth century philology to the approaches taken by William Dwight Whitney, Michel Bréal, and Ferdinand de Saussure, to name but a few, in focusing linguistic scholarship on synchronic study of language as function in the early twentieth century, to Franz Boas's and Edward Sapir's studies in the relationship between language and culture between 1910 and 1939. In situating Pound in relation to the history of linguistics as a discipline, I argue that his work asks some of the period's most apposite questions about language and culture, even if his conclusions differ from the dominant academic positions of the time.

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BARKER, STEPHEN FREDERIC. "ARTICULATION, 'ETRANGETE,' AND POWER: ASPECTS OF NIETZSCHE IN THEORY AND PRACTICE." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184183.

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Although Derrida, Deleuze, and others have shown the centrality of Friedrich Nietzsche's work for contemporary philosophy, the breadth of his influence is only just beginning to be understood in literature. Nietzsche saw himself as a philosopher and as a poet, and wrote in all his major works of the importance of understanding the vital interaction of conceptual thinking and its "practical" application by the litterateur. The place of the philosopher/poet, modelled on Nietzsche himself, was to be considered the highest attainable by man. Yet Nietzsche's elevation of poetic thought contains a dynamic paradox, which he himself not only saw but which was for him a--perhaps the --pivotal aspect of his philosophy: since both thinking and writing occur in the same place, language, man must acknowledge that to engage in either is to accept the destruction of his "unity," and to place his attention "out" into language. To articulate, then, is to establish a double focus, an outer one first (in language), and then an inner one posited in that outer medium. The paradox is that this distancing is both necessary to man and disruptive to his sense of himself. Once one perceives this condition as, after Nietzsche, endemic to man, one can begin to see how pervasively the dilemma can be used as a strength, a source of power, by the writer. This study explores applications of Nietzsche's etrangete. Part One considers Nietzsche's writings themselves, selectively, and some precursors on whom he depended for his insights. Part Two applies these ideas to criticism of a number of contemporary writers, showing how the Nietzschean triangulation of articulation, etrangete, and power (Nietzsche's "eternal recurrence," "Overman," and "will to power") informs such diverse writers as Joyce, Faulkner, John Fowles, and Samuel Beckett. Each of the chapters of Part Two explores an aspect of Part One's conclusions relative to a particular writer, showing how he works within the Nietzschean paradigm whether he would repudiate that paradigm (as in the cases of Faulkner and Fowles), or acknowledge it (as with Joyce and Beckett). The dissertation's effort is to demonstrate that Nietzsche's pervasive influence on contemporary literature is systematic, indigenous, and inescapable.

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Murillo, Charles Ray. "The other within the other: Chicana/o literature, composition theory, and the new mestizaje." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2685.

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In this thesis the author explores the notion that American Chicana/o literature serves as an interactive pedagogical site that nurtures a blend of academic and street discourse, proposing the writing of those who exist on the "downside" of the border of non-standard English and academic discourse-basic writers be acknowledged.

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CARTER, STEVEN MICHAEL. "EPISTEMOLOGICAL MODELS SHARED BY AMERICAN PROJECTIVIST POETRY AND QUANTUM PHYSICS." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/187927.

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The American Projectivist verse of Jack Spicer, Charles Olson, and Robert Duncan contains within its poetics many epistemological assumptions shared by quantum physics. These assumptions exist in three broad categories: perception, process, and wholeness. In physics, the epistemology of perception has been profoundly altered by the Heisenberg Uncertainty Relation, which creates a symbiotic relationship between the observer and the observed. At least one photon of light is necessary to observe an electron; one photon is sufficient to alter the electron's momentum or position; therefore, a physicist affects an electron's "fate" in the act of observing it. Similarly, in Projectivist poetics, the perceptions of the reader are often enlisted to help "compose" the poem which is offered to him in "pieces," or, as in Robert Duncan's poetry especially, in self-reflexive segments. By "self-reflexive," we further mean that the Projectivist poem often "mirrors itself" as an electron "mirrors itself" as wave or as particle, while it is paradoxically both. A Projectivist poem may pause halfway through and "unravel" itself, i.e., study its own etymology. The reader thus must participate in "putting the poem back together," as the physicist participates in the phenomena he observes. The second epistemological model in physics and poetry stresses becoming, rather than being. Matter at the subatomic level has been defined as energy-in-flux. Similarly, the Projectivist poems of Charles Olson especially often exist as "fields" with no syntactical beginnings or endings. Moreover, the "I" of the Maximus Poems is often seen in a perpetual process of becoming the world of spacetime in the poems, creating a system similar to the being-and-becoming model of particle-and-field in quantum mechanics. Third, wholeness is a premise governing poetry and physics separately and together. Jack Spicer's thematics blend matter and consciousness, as "love and death matter/Matter as wave and particle." Similarly, Robert Duncan's poetics describes a "dancing organization between personal and cosmic identity." In physics, wholeness is seen primarily in an "implicate order" which attempts to overturn the old paradigms of fragmentation and connect matter and consciousness, including language, as interrelated systems of information.

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Bennett, Sarah. "The American contexts of Irish poetry, 1950-present." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669957.

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Mackinnon, Jeremy E. "Speaking the unspeakable : war trauma in six contemporary novels." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm15821.pdf.

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Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.

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Trainin, Sarah Jean. "The rise of mass culture theory and its effect on golden age detective fiction." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2255.

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Книги з теми "American literature History and criticism Theory"

Recovering American literature. Chicago: I.R. Dee, 1994.

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Peter, Shaw. Recovering American literature. Chicago: I.R. Dee, 1995.

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Understanding contemporary American literary theory. Columbia: University of South Carolina Press, 2003.

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Understanding contemporary American literary theory. Columbia: University of South Carolina Press, 1997.

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Claire, Gaard Greta, and Murphy Patrick D. 1951-, eds. Ecofeminist literary criticism: Theory, interpretation, pedagogy. Urbana: University of Illinois Press, 1998.

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"The changing same": Black women's literature, criticism, and theory. Bloomington, Ind: Indiana University Press, 1995.

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Tuttleton, James W. Vital signs: Essays on American literature and criticism. Chicago, Ill: I.R. Dee, 1996.

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Literature and moral theory. New York: Bloomsbury Academic, 2015.

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RetroSpace: Collected essays on Chicano literature, theory, and history. Houston, Tex: Arte Publico Press, 1990.

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R, Johnston Kenneth, ed. Romantic revolutions: Criticism and theory. Bloomington: Indiana University Press, 1990.

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Частини книг з теми "American literature History and criticism Theory"

Cameron, Barry. "5. Theory and Criticism: Trends in Canadian Literature." In Literary History of Canada, edited by William New, Carl Berger, Alan Cairns, Francess Halpenny, Henry Kreisel, Douglas Lochhead, Philip Stratford, and Clara Thomas, 108–32. Toronto: University of Toronto Press, 1990. http://dx.doi.org/10.3138/9781487589547-007.

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Jackson, Lawrence P. "African American literature: foundational scholarship, criticism, and theory." In The Cambridge History of African American Literature, 703–29. Cambridge University Press, 2011. http://dx.doi.org/10.1017/chol9780521872171.029.

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Buchanan, Ian. "Deleuze and American (Mythopoeic) Literature." In The Incomplete Project of Schizoanalysis, 223–33. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474487887.003.0016.

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This chapter investigates Deleuze’s philosophical usage of his non-philosophical sources, especially those drawn from the field of literature and literary studies. This chapter pays particular attention to the work of mythopoeic critics D.H. Lawrence, Leslie Fiedler and Richard Slotkin, both of whom offer ‘geographical’ readings of the history of American literature, emphasizing the importance of violence. This way of reading texts classifies them according to whether they are western, eastern, northern, or southern, and typifies their plot construction according to the compass point they are oriented towards. Each compass point represents a different stage in the development of American literature and reflects a different moment in American history. Essentially it follows the path of the settler-colonial conquest and occupation of the North American continent. This chapter asks why Deleuze might be interested in mythopoeic criticism and investigates the degree to which his use of literature in his philosophical writing is consistent with mythopoeic criticism.

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Sommer, Tim. "Usable Pasts: Anglo-American Literature and the Authority of Tradition." In Carlyle, Emerson and the Transatlantic Uses of Authority, 69–100. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474491945.003.0003.

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This chapter analyses how discussions about race and nationhood surfaced in nineteenth-century British and American literary criticism and literary historiography. It discusses Carlyle’s and Emerson’s writings about the relationship between literature and nationality and argues that, drawing on a handful of near-contemporary German and French authors, they positioned themselves at the crossroads of cultural nationalism and literary cosmopolitanism. The second half of the chapter explains how Carlyle and Emerson conceptualised continuity and change in literary history and highlights the role of Romantic expressivism in their nation-centred poetics. The two developed conflicting accounts of English literary history: where Carlyle’s narrative emphasised the past achievement and future global dominance of metropolitan writing, Emerson tended to invest in the authority of the English canon to locate the future of a specifically Anglo-American tradition in the cultural periphery.

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Próchnicki, Włodzimierz, and Maria R. Nenarokova. "An Author’s Narration: “History of Polish Literature” by Czeslaw Miłosz." In “The History of Literature”: Non-scientific sources of a scientific genre, 662–84. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-662-684.

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The article deals with the manual, titled The History of Polish Literature, by the Polish poet, translator and essayist Czeslaw Miłosz. He wrote the manual for his American students. The textbook is based on Miłosz’s lectures at the University of Berkeley in California. The textbook is a one-volume author’s survey of Polish literature, addressed to a specific audience and reflecting Miłosz’s personal views on the history of Polish literature. The personal position of the author is expressed in the selection of facts and related terms concerning ideology, social movements, political changes, the views of writers, as well as in the interpretation of their works. Miłosz views Polish literature not only as a Pole, but also as a European. He tries to present Polish literature as a part of the European literary process. In his textbook Miłosz shows the connection between literary process and history. It is not literary problems that come to the fore, but a way of presenting their historical background, which is far from the stereotypes, spread in society. The textbook, neutral in fact, becomes the author’s interpretation of the history of Polish culture, community and state. Miłosz shows his American students the mechanisms of history that require critical discussion rather than mechanical discussion. The shift in the outline of the textbook towards the author’s narration brings this text closer to literary criticism. In his textbook, Milosz positions himself not as a researcher, but as a storyteller, emotionally connected with the subject of his story. Miłosz ‘s History of Polish Literature is perceived not as an academic textbook, but as a book for reading, in which, as in a living oral story, the reader constantly feels the presence of the speaker — a living interlocutor. The book, conceived as a textbook, takes on the character of a conversation in which the addressee receives answers to his unspoken questions.

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"21. African American Criticism." In Theory of Literature, 272–84. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300183368-022.

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"Politics and American Criticism." In The Cambridge History of American Literature, 265–80. Cambridge University Press, 1996. http://dx.doi.org/10.1017/chol9780521497336.013.

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"Magazines, Criticism, and Essays." In The Cambridge History of American Literature, 558–72. Cambridge University Press, 1994. http://dx.doi.org/10.1017/chol9780521301053.024.

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Rousselot, Elodie. "30. Francophone Canadian Literature." In Modern North American Criticism and Theory, 224–28. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748626786-031.

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Luz Montes, Amelia Maria de la. "20. Chicano/a Literature." In Modern North American Criticism and Theory, 143–50. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748626786-021.

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Santamaria, Giovanni. "Merging Thresholds and New Landscapes of Knowledge." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.11.

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It has become extremely important to revisit our teaching methodology along with pedagogical contents and objectives, in consideration of the impressive and sometimes overwhelming progress that the technology available to document, analyze and represent the complexity of our built and natural environments has reached, and also the role that it has been proactively playing in affecting our way of thinking, designing and building. A renewed “theory of formativity” (Pareyson)1 styles a knowledge that is generated by a constantly transforming process of “making,” in which methodologies, theoriesand learnings arise within the actions of designing and building, and mostly because of the making. Following the etymology of the Greek world2, this making could be understood as poetic way of actively participating to the changes of our environment. If we look carefully, this approach to structure the knowledge has been deeply rooted in the history and legacy of the most relevant architects and designers, as ontological condition imbedded also into the idea of progress. We have been witnessing several experimentations that have been capable of bringing theoretical explorations, such as the ones from the fields of philosophy and literature, into the realm of design and space making. These explorations reach various degrees of quality, but nevertheless they provide openings to further interesting discussions. An example of this sort could be among others, the collaboration between Eisenman and Derrida for the design proposal for Parc de la Villette in Paris of 19873, where the memory of the proposals for Cannaregio in Venice or the project “Romeo and Juliet” in Verona, are considered within the philosophical background of the criticism to the structuralism, and the projection towards a horizon of deconstruction. This concept migrated from the realm of thinking, to the one of designing and form making, in its highest sense, giving strength to role and identity within the field of architecture, of the idea of “fragment” and “text” often interrupted, following Lyotard’s suggestion4, as expression of the post-modern dimension.

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