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Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 25 січня 2023

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1

Gómez-de-Tejada, Jesús. "Parodia, intertextualidad y sátira en la narrativa policial de Lorenzo Lunar Cardedo." Studia Romanica Posnaniensia 47, no. 1 (March 15, 2020): 5–17. http://dx.doi.org/10.14746/strop.2020.471.001.

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Detective fiction as parodic reformulation of genre’s defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region’s societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo’s style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction.

2

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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3

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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4

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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5

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.

6

Caballero Wangüemert, María. "Al hilo de la literatura latinoamericana: estudios literarios/estudios culturales / To the thread of Latin American literature: literary studies / cultural studies." Kamchatka. Revista de análisis cultural., no. 9 (August 31, 2017): 121. http://dx.doi.org/10.7203/kam.9.9932.

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Resumen: El presente trabajo constituye un recorrido bibliográfico por la crítica y la teoría literaria hispanoamericana de los últimos 50 años, sin afán de exhaustividad, como tarea colectiva (congresos etc) y personal. Sus hitos más significativos son: cómo se formó y fue derivando el canon literario en Hispanoamérica. Las teorías postcoloniales y su aplicación al Nuevo Mundo. Las orientaciones de la crítica y la teoría literaria en / sobre Latinoamérica. La irrupción y pervivencia de los estudios culturales. Nuevas modas críticas: estudios transatlánticos, tecno escritura, ecocrítica, crítica genética... Palabras clave: canon, crítica literaria, teoría literaria, teorías postcoloniales, estudios culturales.Abstract: The present work constitutes a bibliographical route by the criticism and the Hispano-American literary theory of the last 50 years. Its author did not pretendan exhaustiveness, but a collective task of congresses etc. Its most significant milestones are: how the literary canon was formed and was derived in Spanish America. Postcolonial theories and their application to the New World. The orientations of the critic and the literary theory in / on Latin America. The irruption and survival of cultural studies. New critical fads: transatlantic studies, tecno writing, ecocritics, genetic criticism …Keywords: Canon, literary criticism, literary theory, postcolonial theories, cultural studies.

7

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.”

8

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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9

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.

10

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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11

Marotti, Maria. "The Italian Perspective: Italian Criticism of American Autobiography." a/b: Auto/Biography Studies 5, no. 2 (January 1990): 152–58. http://dx.doi.org/10.1080/08989575.1990.10815460.

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12

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.

13

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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14

Cruz, Denise. "On Dissonance and Its Functions in Asian American Criticism." American Literary History 34, no. 1 (February 1, 2022): 91–101. http://dx.doi.org/10.1093/alh/ajab101.

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Abstract Building upon recent work in Asian and Asian American studies, this essay explores dissonance, rather than disinterestedness, and its function and form for literary studies in our present time. It is inspired not only by my rereading of Matthew Arnold’s essay but also the convergence of key events over the course of the last few years, ranging from recent attention to Asian and Asian American cultural production to anti-Asian hate crimes. As an Asian Americanist, I research and teach in a field whose very emergence was tied to activist claims for institutional and disciplinary space. I therefore find it profoundly difficult to imagine our endeavors in American literary studies as “disinterested.” I am less invested in making the case whether or not the study of Asian American literature “matters”; rather, here I explore why Asian American literary studies—a method that seeks out and dwells in dissonance and urgency rather than disinterestedness and patience—might be a model worth continuing.

15

Oyarzún, Kemy. "Latin American Literary Criticism: Myth, History, Ideology." Latin American Research Review 23, no. 2 (1988): 258–70. http://dx.doi.org/10.1017/s002387910002238x.

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16

Segovia, Miguel A., and W. Lawrence Hogue. "The African American Male, Writing, and Difference: A Polycentric Approach to African American Literature, Criticism, and History." African American Review 38, no. 4 (2004): 737. http://dx.doi.org/10.2307/4134437.

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17

Lewis, Bart L. "Recent Criticism of Nineteenth-Century Latin American Literature." Latin American Research Review 20, no. 2 (1985): 182–88. http://dx.doi.org/10.1017/s0023879100034579.

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18

Albin, María C., and Raúl Marrero-Fente. "Celebrating the Millennium: Latin American Literature and Criticism." Latin American Research Review 34, no. 3 (1999): 252–82. http://dx.doi.org/10.1017/s0023879100039479.

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19

Sanders, Leslie. "THE POLITICS OF REPRESENTATION: SOME RECENT AFRICAN-AMERICAN LITERARY CRITICISM." Canadian Review of American Studies 21, no. 2 (September 1990): 247–60. http://dx.doi.org/10.3138/cras-021-02-10.

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20

Redl, Carolyn. "Ten Year Checkup: Feminist Criticism and the American Literary Canon." Canadian Review of American Studies 22, Supplement 2 (January 1992): 193–214. http://dx.doi.org/10.3138/cras-022s-02-03.

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21

Ueda, Reed. "IMMIGRATION AND THE MORAL CRITICISM OF AMERICAN HISTORY: THE VISION OF OSCAR HANDLIN." Canadian Review of American Studies 21, no. 2 (September 1990): 183–202. http://dx.doi.org/10.3138/cras-021-02-04.

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22

Price, Kenneth M. "Hamlin Garland's "The Evolution of American Thought": A Missing Link in the History of Whitman Criticism." Walt Whitman Quarterly Review 3, no. 2 (October 1, 1985): 1–20. http://dx.doi.org/10.13008/2153-3695.1107.

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23

Roudeau, Cécile. "Toward Critical State Studies: Bringing the Democratic State Back into American Literary Criticism." American Literary History 34, no. 1 (February 1, 2022): 315–26. http://dx.doi.org/10.1093/alh/ajab074.

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Abstract This essay starts from the apparent disconnect between democracy and the State in American literary studies. Taking the case of antebellum US literature (James Fenimore Cooper and Lydia Maria Child), it contends that literature is one place of elaboration of a democratic statecraft. Nineteenth-century US literature has been read as both complicit with and resisting to reigning models of statecraft endorsing racial domination, bureaucratization, and the monopoly of violence. However, we remain indifferent at our own peril to the potential forces of State as a democratic public authority and of state regulation as a non-arbitrary public provision. Putting American literature to the test of statecraft and statecraft to the test of literature, critical State studies proposes to revisit literary practices as a mode of critique in nineteenth-century state building. Nineteenth-century literature, I argue, both facilitated and performed this critique. Reading nineteenth-century US literature from the perspective of critical State studies—here, reading The American Frugal Housewife as a manual of democratic regulatory practice, or The Pioneers as an attempt at democratic environmental governance—allows us to investigate how literature, as a mode of representation and a political practice, gives shape and voice to alternative modes of statecraft. Turning the State into a methodological problem, a pressure point of generative possibilities, critical State Studies requires that we attend to an alternative genealogy of the State and recover a past that has not yet been present in our reading of American literature.

24

Burzyński, Tomasz. "Pandemic Automobility. Patterns of Crisis and Opportunity in the American Motor Culture." Review of International American Studies 14, no. 2 (December 19, 2021): 143–56. http://dx.doi.org/10.31261/rias.11810.

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This article traces the recursive character of automobility from a perspective of cultural crises and traumas that accompany motor culture development in the USA. The American automobility system has been caught in the treadmill of ideological criticism that defined the current role of motor vehicles in forms of political activism and cultural criticism. The ongoing Covid-19 pandemic is different as it seems to bring restoration to the original character of motor culture with its defining features of individualism, freedom, and opportunity achieved through mobility.

25

Warren, Kenneth W. "Back to Black: African American Literary Criticism in the Present Moment." American Literary History 34, no. 1 (February 1, 2022): 369–79. http://dx.doi.org/10.1093/alh/ajab082.

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Abstract For more than a century, scholars of Black literature have sought to align a critical project focused on identifying and celebrating Black distinctiveness with a social project aimed at redressing racial inequality. This commitment to Black distinctiveness announces itself as a project on behalf of “the race” as a whole, but has always been, and remains, a project and politics guided in the first instance by the needs and outlook of the Black professional classes. Over the first half of the twentieth century, this cultural project achieved some real successes: politically, it helped discredit the moral and intellectual legitimacy of the Jim Crow order that in various ways affected all Black Americans; culturally, it placed Black writers in the vanguard of a modernist project predicated on multicultural pluralism. Since the 1970s the limitations of this project, culturally and politically, have become increasingly evident. Blind to the class dimension of their efforts, literary scholars continue to misrepresent the historical/political nature of the project of Black distinction as a property of cultural texts themselves. Overestimating the efficacy of race-specific social policies, these scholars disparage the universalist social policies that would most effectively benefit a majority of Black Americans.

26

Lisboa, Maria Manuel. "Latin American Literature: Symptoms, Risks & Strategies of Post-Structuralist Criticism by Bernard McGuirk." Portuguese Studies 19, no. 1 (2003): 228–30. http://dx.doi.org/10.1353/port.2003.0002.

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27

Avallone, Charlene. "What American Renaissance? The Gendered Genealogy of a Critical Discourse." PMLA/Publications of the Modern Language Association of America 112, no. 5 (October 1997): 1102–20. http://dx.doi.org/10.2307/463486.

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Since “American renaissance” criticism emerged in 1876, it has derogated women's writings while idealizing men's, despite its shifting definitions of period, canon, and literary standards. My genealogy of the critical discourse of renaissance details ways that this criticism has denied literary value to women writers, especially at historical moments of women's increased publicity and apparent gains of power, thereby helping to maintain larger gender and racial hierarchies. Because of this tradition, I argue, the renaissance discourse is inadequate to current efforts to reenvision United States literary history and to a democratic culture.

28

Tatsumi, Takayuki. "Literary History on the Road: Transatlantic Crossings and Transpacific Crossovers." PMLA/Publications of the Modern Language Association of America 119, no. 1 (January 2004): 92–102. http://dx.doi.org/10.1632/003081204x23557.

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Literary history has always mirrored discursive revolutions in world history. In the United States, the Jazz Age would not have seen the Herman Melville revival and the completion of Carl Van Doren's The Cambridge History of American Literature (1917–21) without the rise of post–World War I nativism. If it had not been for Pearl Harbor, F. O. Matthiessen's American Renaissance (1941) could not have fully aroused the democratic spirit embedded in the heritage of New Criticism. Likewise, the postcolonial and New Americanist climate around 1990, that critical transition at the end of the cold war, brought about the publication of Emory Elliott's The Columbia Literary History of the United States (1988) and Sacvan Bercovitch's The Cambridge History of American Literature (1994–). I would like to question, however, the discourse that narrates American literary history in the globalist age of the twenty-first century.

29

Mariani, Giorgio. "A View from the Heart of Europe." American Literary History 34, no. 1 (February 1, 2022): 267–71. http://dx.doi.org/10.1093/alh/ajab093.

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Abstract There are at least three ways of understanding “criticism”: 1) as literary scholarship; 2) as teaching; 3) as a way of engaging the general reading public regarding the significance of literary and cultural matters. Every country has developed its own traditions in each of these three areas. This brief essay focuses on the Italian case, arguing that teachers of American literature need to make the most of their role as cultural mediators and translators, as in the formative years of Italian American Studies. The influence of the corporate model on the Italian public university, along with other factors, has made relations between literary scholars’ and the nonacademic public sphere tenuous. Unless the democratic political ethos that presided over the birth of the discipline is rediscovered, the future for Italian “American literary criticism”—in all the three articulations mentioned above—will be rather bleak.

30

Dillon, John Noël. "CONJECTURES AND CRITICISM IN BOOK 1 OF THECODEX JUSTINIANUS." Classical Quarterly 65, no. 1 (April 2, 2015): 321–43. http://dx.doi.org/10.1017/s0009838814000640.

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Since 2007, a team of American and British ancient historians has been preparing a new translation of theCodex Justinianus. The ‘Codex Project’ was launched by chief editor Bruce W. Frier; the goal of the project is to create the first reliable English translation of theCodex Justinianuson the basis of the standard edition by Paul Krüger. Since 1932, the notoriously unreliable translation by Scott has remained the only one in English. The new translation by the Codex Project should appear soon.

31

Lye, Colleen. "Asian American Cultural Critique at the End of US Empire." American Literary History 34, no. 1 (February 1, 2022): 237–55. http://dx.doi.org/10.1093/alh/ajab100.

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Abstract Sharpening contradictions in US–China economic interdependency has created a crisis and an opportunity for Asian American cultural critique. A crisis in that it is plainer than ever before that antiracism and anti-imperialism do not necessarily align; an opportunity in that US and China’s financial entanglements have fueled a boom in the Asian American novel as a lively genre of the transPacific credit economy. At the very least, this makes for the new social relevance of Asian American novel criticism.

32

M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.

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Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.

33

Voelz, Johannes. "The Postliberal Aesthetic; or, How Can Literary Criticism Help Unsettle America’s Polarization?" American Literary History 34, no. 1 (February 1, 2022): 354–68. http://dx.doi.org/10.1093/alh/ajab080.

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Abstract This essay interprets the present moment as marked by democratic crisis and assigns to American literary criticism the task of responding to it. While American democracy faces multiple crises, the essay contends that current levels of polarization make it impossible to effectively address any of them. In this situation, literary studies confronts a dual challenge: it must, first, come to terms with its own contribution to the dynamics of polarization and, second, consider whether it can help undo it. Adopting a cultural–sociological perspective, the essay identifies literary studies as an institution that consolidates the politico-cultural identity of the “new middle class” and contributes to the culturalization of politics underlying contemporary polarization. However, the essay contends, American literary studies has the capacity to help revive democratic culture if it nurtures reading practices that unsettle fixed identities. To that end, the essay singles out various recent theories of reading whose democratic potential is grounded in their shared premise that literature is a communicative act. In interpreting these models of criticism as a potential way out of the malaise of polarization, the essay makes a call to revisit, reevaluate, and reformulate the tradition of liberalism.

34

LeMenager, Stephanie. "The Functions of American Literary Criticism in the Present Moment: A Literary Historical Memoir." American Literary History 34, no. 1 (February 1, 2022): 212–23. http://dx.doi.org/10.1093/alh/ajab092.

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Abstract The author traces her development as a scholar of the environmental humanities at the intersection of US/American, postcolonial, and decolonial studies in order to pursue the question of the function of American literary criticism in the present moment. This critical memoir presumes that any contemplation of disciplinary methods or futures reflects a politics of location, and it attempts to craft a site-specific reflection on methods.

35

Li, D. L. "The State and Subject of Asian American Criticism: Psychoanalysis, Transnational Discourse, and Democratic Ideals." American Literary History 15, no. 3 (September 1, 2003): 603–24. http://dx.doi.org/10.1093/alh/ajg033.

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36

Friedman, Susan Stanford. "Alternatives to Periodization: Literary History, Modernism, and the “New” Temporalities." Modern Language Quarterly 80, no. 4 (December 1, 2019): 379–402. http://dx.doi.org/10.1215/00267929-7777780.

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Abstract Can literary history be done without the conventional reliance on linear periodization? What might a literary history of modernism look like without the usual periodization of roughly 1890–1940? This essay reviews the arguments for and against periodization and then argues that the new time studies—based in nonlinear concepts of time for the study of the contemporary—offers alternatives to the Eurocentric periodization of modernism. These new temporalities were anticipated by early twentieth-century Euro-American modernism, presented in the essay with an account of the dramatic debate between Albert Einstein and Henri Bergson in 1922 and a discussion of Virginia Woolf’s experiments with the relationality of space and time in her fiction. Multidimensional, layered, and disjunctive concepts of time are better suited for the study of planetary modernisms that incorporate the colonial and postcolonial modernities. Kabe Wilson’s multimedia installation based on a remix of A Room of One’s Own and selected criticism on modernism are used to illustrate alternatives to linear periodization.

37

Lansky, Ellen. "All Aboard." English Language Notes 60, no. 1 (April 1, 2022): 139–49. http://dx.doi.org/10.1215/00138282-9560265.

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Abstract This essay situates Ernest Hemingway’s iconic “Hills Like White Elephants” as a short story about drinking. From this perspective, Hemingway’s story enables readers to experience a personal and deeply felt emotional engagement with the characters, the scene, and the situation. Moreover, his technique enlists readers as “drinking buddies” and provides an entrée into the culture of alcohol. Despite the macho image that Hemingway himself helped construct and deploy, his work invites women into the scene and, indeed, centralizes a key figure often overlooked in the history of modern American fiction criticism: the drinking woman.

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Gillman, Susan. "The Political, the Personal, and “The Function of American Literary Criticism at the Present Time,” 1983–2021." American Literary History 34, no. 1 (February 1, 2022): 174–85. http://dx.doi.org/10.1093/alh/ajab085.

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Abstract Focused on the work of Amy Kaplan and Edward Said, two critics known for their engagements with that longtime hot-button slogan, “the personal = the political,” this essay updates Mathew Arnold’s formula of the function of criticism at the present time. In her 2003 ASA presidential address, Kaplan posed the question, what should be the role of American studies scholars today, in the face of American empire today?—and together with Said, she answered it in a series of experiments with form. The essay, the address, and the book, all three reoriented toward making the personal = the political, become their routes to thinking empire as an ongoing historical subject, anarchic and incoherent rather than monolithic. The work on US empire in the 1980s, when Kaplan’s denial thesis on the absence of empire in American studies took hold and inspired so many scholars, is still present but with new terminology in new disciplinary locations. The larger function of criticism appears when we superimpose the timeline of earlier empire work onto other, current confluences of dates (the centenaries 1992/1998, 9/11, BLM, and COVID-19, 2019–2020) and speculate on the why of these still-open-ended key contexts, textual clusters of empire.

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Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.

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The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.

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Seybold, Matt. "Economics and American Literary Studies in the New Gilded Age, or Why Study the History of Bad Predictions and Worse Rationalizations?" American Literary History 31, no. 4 (2019): 587–95. http://dx.doi.org/10.1093/alh/ajz041.

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Abstract This introduction to the special issue on Economics and American Literary Studies in The New Gilded Age traces an underexplored history of dissent within the discipline of economics through presidential addresses to the American Economic Association and writings by John Maynard Keynes. It acknowledges the “vexed history” of interdisciplinary engagement between economists and literature scholars, including a recent, halfhearted call for “narrative economics” from 2013 Nobel Laureate Robert Shiller. Seybold suggests that new brands of econo-literary criticism have risen to promise in the last decade and that contributors to this special issue demonstrate the importance of historicism to this subfield, despite its apparent presentist tendencies.

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Saldívar, Ramón. "Criticism on the Border and the Decolonization of Knowledge." American Literary History 34, no. 1 (February 1, 2022): 327–41. http://dx.doi.org/10.1093/alh/ajab078.

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Abstract Structures of hierarchy and domination are never represented in transborder literature as singular effects of social conditions. Instead, they arise from multiple historical factors. Unlike writings that assume a racial binary, literature on the border does not posit one kind of domination and hierarchy as barriers to creating a just, democratic society. In recent literary works from the transborder regions, the yearning for justice within the layered social systems on the border is central, even while its attainment through social transformation remains an attenuated hope. This essay outlines a paradigm for studying the relations between global and local areas of study, such as those in the transborder regions of the Americas. Invoking models for literary critical work in a globally bordered form, it posits the need for a larger view based on how knowledge is generated and human resources used, while acknowledging the reservoir of knowledge that exists beyond Europe and the US in the Global South. The function of the rebordered criticism described here is to respond to issues raised by African philosopher Achille Mbembe, Latin American sociologist Enrique Dussel and other decolonial thinkers concerning different ways of conceiving the achievement of an antiracist and socially just future. In the face of [the] compromised hopefulness [for justice on the border], what kind of criticism could best [respond to and] … help enact projects of social change?

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Dewalt, Robert. "Tom's Investigation: The Development of the Surveillance Theme in the Composition of The Great Gatsby." F. Scott Fitzgerald Review 14, no. 1 (November 1, 2016): 110–35. http://dx.doi.org/10.5325/fscotfitzrevi.14.1.110.

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Abstract This article traces the composition history of The Great Gatsby from manuscript through galley proofs to the published novel, indicating how Fitzgerald intensified conflict between Gatsby and Tom by making Tom the investigator of a bootlegger rumored to have been a German spy during World War I. It shows the conflict to be a displaced reprise of American anti-German sentiment during the war, which provides a gloss on the billboard of Doctor T. J. Eckleburg and the tale of the brewer who built Gatsby's mansion. It cites Nick Carraway's rhetorical tendencies as evidence of the war's persistent effects and contrasts them with Fitzgerald's social criticism.

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So, Richard Jean, and Edwin Roland. "Race and Distant Reading." PMLA/Publications of the Modern Language Association of America 135, no. 1 (January 2020): 59–73. http://dx.doi.org/10.1632/pmla.2020.135.1.59.

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This essay brings together two methods of cultural‐literary analysis that have yet to be fully integrated: distant reading and the critique of race and racial difference. It constructs a reflexive and critical version of distant reading—one attuned to the arguments and methods of critical race studies—while still providing data‐driven insights useful to the writing of literary history and criticism, especially to the history and criticism of postwar African American fiction, in particular James Baldwin's Giovanni's Room. Because race is socially constructed, it poses unique challenges for a computational analysis of race and writing. Any version of distant reading that addresses race will require a dialectical approach. (RJS and ER)

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Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.

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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems of this branch of Serbian musicology. The first research is associated with the early years of the XXth century, that is, to the work of bibliography. The pioneer of Serbian ethnomusicology, Vladimir R. Djordjevic composed An Essay of the Serbian Musical Bibliography until 1914, noting selected XIXth century examples of Serbian literature on music. Bibliographic research was continued by various institutions and experts during the second half of the XXth century: in Zagreb (today Republic of Croatia); the Yugoslav Institute for Lexicography, Novi Sad (Matica srpska); and Belgrade (Institute for Literature and Art, Slobodan Turlakov, Ljubica Djordjevic, Stanisa Vojinovic etc). In spite of the efforts of these institutions and individuals, a complete analytic bibliography of music in Serbian print of the last two centuries has unfortunately still not been made. The most important contributions to historical research, interpretation and validation of Serbian musical criticism and essay writings were given by Stana Djuric-Klajn, Dr Roksanda Pejovic and Dr Slobodan Turlakov. Professor Stana Djuric-Klajn was the first Serbian musicologist to work in this field of Serbian music history. She wrote a significant number of studies and articles dedicated to Serbian musical writers and published their selected readings. Prof. Klajn is the author and editor of the first and only anthology of Serbian musical essay writings. Her student Roksanda Pejovic published two books (along with numerous other factually abundant contributions), where she synthetically presented the history of Serbian criticism and essay writings from 1825 to 1941. Slobodan Turlakov, an expert in Serbian criticism between the World Wars, meritorious researcher and original interpreter, especially examined the reception of music of great European composers (W. A. Mozart, L. v. Beethoven, F. Chopin, G. Verdi, G. Puccini etc) by Serbian musical critics. Serbian musical criticism and essay writings were also the focus of attention of many other writers. The work quotes comments and additions of other musicologists, but also historians of theatre, literature and art philosophers, aestheticians, sociologists, all members of different generations, who worked or still work on the history of the Serbian musical criticism and essay writings. The closing section of the text suggests directions for future research. Firstly, it is necessary to begin integral bibliographical research of texts about music published in our press during the cited period. That is a project of capital significance for national science and culture; realization needs adequate funding, the involvement of many academic experts, and time. Work on bibliography will also enable the collection and publication of sources: books and articles by Serbian music writers who worked before 1945. A separate problem is education of scholars. To study musical literature, a musicologist needs to be knowledgeable about the history of Serbian literature, aesthetic theory, and theatre, national social, political and cultural history, and methodology of literary study. That is why facilities for postgraduate and doctorial studies in musicology are necessary at the Faculties of Philology and Philosophy.

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Bascom, Ben. "Groping Toward Perversion: From Queer Methods to Queer States in Recent Queer Criticism." American Literary History 32, no. 2 (2020): 396–404. http://dx.doi.org/10.1093/alh/ajaa007.

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Abstract What’s so queer about the nineteenth century? According to three recent studies of American literature—Elizabeth Freeman’s Beside You in Time (2019), Natasha Hurley’s Circulating Queerness (2018), and Benjamin Kahan’s The Book of Minor Perverts (2019)—the answer may be fairly all encompassing. For these critics, queerness is both an orientation and an object of study, enlivening, engendering, and uncovering a plethora of inchoate possibilities for imagining nonnormativity in the long nineteenth century. As such, these studies help resituate the critical capacity for queer studies to engage with historical material while also attending to the ephemeral possibilities that queerness, as a heuristic, frames, from being a methodology, a narrative trope, or a marker of excess that gets overpassed through dominant and emergent ideologies. Bringing together novels, plays, performances, short stories, and life narratives—along with compelling debates in the fields of queer studies—these books are sure to motivate continued work on the intersections of queerness, affect, and the literary while also plotting ways to consider how queerness disrupts and confirms the biopolitics of sex as a category of analysis.

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Williams, Raymond Leslie. "Literary Criticism and Cultural Observation: Recent Studies on Twentieth-Century Latin American Literature." Latin American Research Review 21, no. 1 (1986): 258–69. http://dx.doi.org/10.1017/s0023879100021993.

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Loiter, Sofia. "“THE CONDUIT AND THE SHVAMBRANIA” BY LEV KASSIL: A HISTORY OF THE TEXT." Children's Readings: Studies in Children's Literature 22, no. 2 (2022): 388–403. http://dx.doi.org/10.31860/2304-5817-2022-2-22-388-403.

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The article analyzes the structural and textual changes made by Lev Kassil in the reprinting of the story “Conduit and Shvambraniya”. The material for this study is the 1935 and 1937 editions of the story, two editions in 1957, and the last lifetime edition in 1965. An analysis of the published editions shows the formation of the story “The Conduit and Shvambrania” as a single novel, a single narrative and structural whole, which was not yet the case in the 1935 edition. The author reveals the changes made by Lev Kassil in later versions of the story and offers a classification of authorial corrections: 1) deletions of ideological and political nature; 2) deletions and changes caused by attacks of pedagogical critics; 3) corrections and changes of artistic nature. Lev Kassil was forced to respond to the ideological campaigns that were unfolding both on the national scale and in the professional literary environment (the anti-Semitic campaigns of the 1930s and 1940s, the deportation of the Volga Germans in the 1940s, discussions of “pseudo-romanticism and formalism” in criticism, etc.). Another reason for changing the text of the story was the circumstances of the writer’s family biography: the repression of his brother Iosif Kassil, who was the prototype of one of the main characters in the story — Os’ka. Nevertheless, The Conduit and Shvambrania was the only book in Kassil’s work in which a Jewish theme was expressed.

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Buell, Lawrence, and Christof Mauch. "Imagining Rivers: The Aesthetics, History, and Politics of American Waterways. A Conversation Between Lawrence Buell and Christof Mauch." Review of International American Studies 14, no. 1 (September 30, 2021): 229–37. http://dx.doi.org/10.31261/rias.10414.

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This contribution features a transatlantic conversation between Christof Mauch, environmental historian and Americanist from Ludwig Maximilian University in Munich, and Lawrence Buell, literary scholar and “pioneer” of Ecocriticism from Harvard University. Buell’s The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture (1995) marked the first major attempt to understand the green tradition of environmental writing, nonfiction as well as fiction, beginning in colonial times and continuing into the present day. With Thoreau’s Walden as a touchstone, this seminal book provided an account of the place of nature in the history of Western thought. Other highly acclaimed monographs include Writing for an Endangered World (2001), a book that brought industrialized and exurban landscapes into conversation with one other, and The Future of Environmental Criticism: Environmental Crisis and Literary Imagination (2009), which provides a critical survey of the ecocritical movement since the 1970s, with an eye to the future of the discipline.

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Levine, Robert S. "“That Grim Sphinx”: Literary Historicism and Tourgée’s Toinette Novels." American Literary History 34, no. 1 (February 1, 2022): 224–36. http://dx.doi.org/10.1093/alh/ajab087.

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Abstract [W]e need to continue the key conversation in the field about how to revitalize literary historicism. Matthew Arnold and Tourgée can help to contribute to this conversation. This essay puts the Reconstruction novelist Albion Tourgée in dialogue with the English critic Matthew Arnold in an effort to revitalize the role of literary historicism in American literary studies today. Specifically, it offers a case study of Tourgée’s three Toinette novels (1874, 1879, 1881), all relatively neglected, to make the case for the importance of continuing to study nineteenth-century American literature at least in part in a national frame, but one that takes account of the complexities of temporality. One of the functions of American literary criticism at the present time should be the continued recuperation of lost or neglected voices like Tourgée’s. A more pronounced attention to literary historicism, as the writings of both Tourgée and Arnold suggest, does not mean having to reproduce the exceptionalism and blindnesses of the past or present, especially if critics reject a rigid historical contextualism.

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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.