Bøger udgivet af Bucknell University Press

British Romanticism and the Literature of Human Interest investigates the generic structures of Romantic literature and the negotiation of the status of literature in the period in relation to a new media landscape. This book explores the self-theorization of Romantic literature and argues for its value to contemporary literary criticism.

Lady Anne: A Chronicle in Verse by Antjie Krog is the first English translation of an award winning book published in Afrikaans in 1989. It engages critically and creatively with a key moment of colonial historythe time Lady Anne Barnard spent at the Cape of Good Hope, from 1797 to 1802. Usually mentioned merely as a witty hostess of fabulous parties, Anne Lindsay Barnard, the daughter of a Scottish Earl and the wife of a colonial administrator, was an independent thinker and a painter and writer of genius. She left diaries, correspondence and watercolors documenting her experiences in this exotic land, the contact zone of colonizers and indigenous peoples. Antjie Krog acts as bard and chronicles an epic about this remarkable heroine's life in South Africa, and intertwines it with life two hundred years later in the same country but now in the throes of anti-apartheid anger and vicious states of emergency. Krog's powerful and eloquent bringing together of the past and the present, and the historical and the poetic embodies an experience that is as pertinent and compelling today in a democratic but still turbulent South Africa, as it is in the USA and other places where the intersections of race, identity, power, and language lie at the center of civic life.

Building on postcolonial and transatlantic paradigms as well as new theoretical developments like Actor-Network-Theory, Global Romanticism: Origins, Orientations, and Engagements, 1760-1820 views the literature and culture of late-eighteenth- and early-nineteenth-century Britain and beyond through the lens of long-durational globalization.

From the cabinets of wonder of the Renaissance to the souvenir collections of today, selecting, accumulating, and organizing objects are practices that are central to our notions of who we are and what we value. Collecting, both private and institutional, has been instrumental in the consolidation of modern notions of the individual and of the nation, and numerous studies have discussed its complex political, social, economic, anthropological, and psychological implications. However, studies of collecting as practiced in colonized cultures are few, since the role of these cultures has usually been understood as that of purveyors of objects for the metropolitan collector.Collecting from the Margins: Material Culture in a Latin American Context seeks to counter the historical understanding of collecting that posits the metropolis as collecting subject and the colonial or postcolonial society as supplier of collectible objects by asking instead how collecting has been practiced and understood in Latin America. Has collecting been viewed or portrayed differently in a Latin American context? Does the act of collecting, when viewed from a Latin American perspective, unsettle the way we have become accustomed to think about it? What differences, if any, arise in the activity of collecting in colonized or previously colonial societies?Spanning the period after the independence wars until the 1980s, this collection of ten essays addresses a broad range of examples of collecting practices in Latin America. Collecting during the nineteenth century is addressed in discussions of the creation of the first national museums of Argentina and Colombia in the post-independence period, as well as in analyses of the private collections of modernistas such as Enrique Gomez Carrillo, Ruben Daro, Jose Asuncion Silva, and Delmira Agustini at the end of the nineteenth century and the beginning of the twentieth. The practice of collecting in the twentieth century is discussed in analyses of the self-described revolutionary practices of Oswald de Andrade, Augusto de Campos and the films of Ruy Guerra, as well as the polemical collections of Pablo Neruda, and the unsettling collections portrayed in Gabriel Garca Mrquez's One Hundred Years of Solitude.

Mina Loypoet, artist, exile, and luminarywas a prominent and admired figure in the art and literary circles of Paris, Florence, and New York in the early years of the twentieth century. But over time, she gradually receded from public consciousness and her poetry went out of print. As part of the movement to introduce the work of this cryptic poet to modern audiences, Poetic Salvage: Reading Mina Loy provides new and detailed explications of Loy's most redolent poems. This book helps readers gain a better understanding of the body of Loy's work as a whole by offering compelling close readings that uncover the source materials that inspired Loy's poetry, including modern artwork, Baedeker travel guides, and even long-forgotten cultural venues. Helpfully keyed to the contents of Loy's Lost Lunar Baedeker, edited by Roger Conover, this book is an essential aid for new readers and scholars alike. Mina Loy forged a legacy worthy of serious considerationthrough a practice best understood as salvage work, of reclaiming what has been so long obscured. Poetic Salvage: Reading Mina Loy dives deep to bring hidden treasures to the surface.

This book argues that Oliver Wendell Holmes Jr., helps us see the law through an Emersonian lens by the way in which he wrote his judicial dissents. Holmes's literary style mimics and enacts two characteristics of Ralph Waldo Emerson's thought: ';superfluity' and the ';poetics of transition,' concepts ascribed to Emerson and developed by literary critic Richard Poirier. Using this aesthetic style borrowed from Emerson and carried out by later pragmatists, Holmes not only made it more likely that his dissents would remain alive for future judges or justices (because how they were written was itself memorable, whatever the value of their content), but also shaped our understanding of dissents and, in this, our understanding of law. By opening constitutional precedent to potential change, Holmes's dissents made room for future thought, moving our understanding of legal concepts in a more pragmatic direction and away from formalistic understandings of law. Included in this new understanding is the idea that the ';canon' of judicial cases involves oppositional positions that must be sustained if the law is to serve pragmatic purposes. This process of precedent-making in a common-law system resembles the construction of the literary canon as it is conceived by Harold Bloom and Richard Posner.

We all think we know what a dictionary is for and how to use one, so most of us skip the first pagesthe front matterand go right to the words we wish to look up. Yet dictionary users have not always known how English ';works' and my book reproduces and examines for the first time important texts in which seventeenth- and eighteenth-century dictionary authors explain choices and promote ideas to readers, their ';end users.' Unlike French, Spanish, and Italian dictionaries compiled during this time and published by national academies, the goal of English dictionaries was usually not to ';purify' the language, though some writers did attempt to regularize it. Instead, English lexicographers aimed to teach practical ways for their users to learn English, improve their language skills, even transcend their social class. The anthology strives to be comprehensive in its coverage of the first phase of this tradition from the early seventeenth centuryfrom Robert Cawdrey's (1604) A Table Alphabeticall, to Samuel Johnson's Dictionary of the English Language (1755), and finally, to Noah Webster's An American Dictionary of the English Language (1828). The book puts English dictionaries in historical, national, linguistic, literary, cultural contexts, presenting lexicographical trends and the change in the English language over two centuries, and examines how writers attempted to control it by appealing to various pedagogical and legal authorities. Moreover, the development of dictionary and attempts to codify English language and grammar coincided with the arc of the British Empire; the promulgation of ';proper' English has been a subject of debate and inquiry for centuries and, in part, dictionaries and the teaching of English historically have been used to present and support ideas about what is correct, regardless of how and where English is actually used. The authors who wrote these texts apply ideas about capitalism, nationalism, sex and social status to favor one language theory over another. I show how dictionaries are not neutral documents: they challenge or promote biases. The book presents and analyzes the history of lexicography, demonstrating how and why dictionaries evolved into the reference books we now often take for granted and we can see that there is no easy answer to the question of ';who owns English.'

Sovereign Power and the Enlightenment examines the role of the novelists and historians of the eighteenth century in developing a vision of political modernity that questions traditional narratives about the rise of liberalism and the decline of sovereign power. It provides a new way to link the literature and philosophy of the eighteenth century with the meditations on violence and sovereignty that have preoccupied much of the political philosophy of the first years of the twenty first century. Focusing on the novelists Daniel Defoe, Samuel Richardson, and Ann Radcliffe, and on the historians David Hume and Edward Gibbon, DeGabriele shows how these authors use the resources of their respective genres to expose the persistence of sovereign violence and to outline a type of political subject who could resist the violence more effectively than the individual beloved of modern liberalism.

In Making Love: Sentiment and Sexuality in Eighteenth-Century British Literature, Paul Kelleher revises the history of sexuality from the vantage point of the literary history of sentimentalism. Kelleher demonstrates how eighteenth-century British philosophers, essayists, and novelists fundamentally reconceived the relations among sentiment, sexuality, and moral virtue. It is his contention that sentimental discourse, both philosophical and literary, posited heterosexual desire as the precondition of moral feeling and conduct. The author further suggests that sentimental writers fashioned the ideal of conjugal love as an ideological antidote to the theories of self-love and self-interest found in the works of Thomas Hobbes and Bernard Mandeville. Heterosexual desire and its culmination in conjugal love, in other words, were represented as the privileged means for an individual to transcend self-love and to develop a moral sensibility attuned to the thoughts and feelings of others. At the same time, Kelleher suggests, other pleasures and desiresparticularly those rooted in same-sex eroticismwere increasingly depicted as antithetical to conjugal love and, thus, were morally devalued and socially disenfranchised. Kellehers argument unfolds through close readings of a variety of texts, including Shaftesbury's Characteristics of Men, Manners, Opinions, Times, Joseph Addison and Richard Steele's the Tatler and the Spectator, Eliza Haywood's Love in Excess, Samuel Richardson's Pamela, and Henry Fielding's Tom Jones. Although these texts embody diverse rhetorical strategies and thematic concerns, he shows how they collectively reinforce an overarching sentimental ideology: on the one hand, heterosexual desire and conjugal love become synonymous with sympathy, benevolence, and moral goodness, while on the other hand, same-sex desire is pathologized as a selfish withdrawal from procreation, domesticity, sociability, and ultimately, ';humanity' itself.

John Locke asked, ';since all things that exist are merely particulars, how come we by general terms?' Essential Scots and the Idea of Unionism in Anglo-Scottish Literature, 16031832 tells a story about aesthetics and politics that looks back to the 1603 Union of Crowns and James VI/I's emigration from Edinburgh to London. Considering the emergence of British unionism alongside the literary rise of both description and ';the individual,' Rivka Swenson builds on extant scholarship with original close readings that illuminate the inheritances of 1603, a date of considerable but untraced importance in Anglo-Scottish literary and cultural history whose legacies are still being negotiated today. The 1603 Union of Crowns spurred interest in exploring the aesthetic politics of unionism in relation to an alleged Scottish essence that could be manipulated to resist or support ';Britishness,' even as the king's emigration generated a legacy of gendered representations of traveling Scots and ';Scotlands-left-behind.' Discussing writers such as Bacon, Defoe, Smollett, Johnson, Macpherson, Ferrier, and Scott along with lesser-known or forgotten popular authors (and ballads, transparencies, newspapers, joke books, cant dictionaries, political speeches, histories, travel narratives, engravings, material artifacts such as medals and snuffboxes), Essential Scots describes the years 1603 to 1832 as a crucial period in British history. Paradoxically, the political and cultural exploration of ideas about ';unionism' in relation to a supposed ';essential Scottishness' participated in the increasing prominence of both description and the ';individual' in nineteenth-century Scottish literature; Swenson persuasively concludes that essential Scottishness (as both ';identity' and symbolism) was refigured to mediate a national synthesis between the emergent individual and the nascent British nationas well as the naturalized, even de-politicized, literary synthesis of particulars within putatively analogous narrative wholes.

In this memoir, Sascha Feinstein recounts life with his father, Sam Feinstein, who was both a brilliantartist and a hoarder of monumental proportions. He collected only uncollectible objectsartifacts thatrequired him to give them importanceand at the time of his death in 2003, his hoarding had fundamentallydestroyed all three of his large homes. Despite this, Sam Feinstein was a remarkable painter and art teacher. This strange double helix of creativity and destruction guides these collage-like reflections. Like his students' canvasespaintings inspired by enormous still lifes constructed from the world's refusethis book incorporates myriad sources in order to create a more layered experience for the reader. The final result is the depiction of a painter with the highest artistic ideals who nevertheless left behind an incalculable amount of physical and emotional wreckage.

Playing the Martyr is a book about the interplay between theater and religion in early modern France. Challenging the standard narrative of modernity as a process of increased secularization Christopher Semk demonstrates the centrality of religious thought and practices to the development of neoclassical poetics. Engaging with a broad corpus of religious plays, poetic treatises, devotional literature, and contemporary theory, Semk shows that religion was a vital interlocutor in early modern discussions concerning the definition of verisimilitude, the nature and purpose of spectacle, the mechanics of acting, and the position of the spectator. Well researched and persuasively argued, Playing the Martyr makes the case for a more complicated approach to the relationship between religion and literature, namely, one that does not treat religion as a theme deployed within literary works, but as an active player in literary invention. Indeed, it makes the case for a serious reconsideration of the role that religion plays in the development of modern, secular literary forms.

Every major Peruvian author of the twentieth century has written a narrative focused on childhood or coming of age. Mining Memory argues that Peruvian narratives of the twentieth century re-imagine childhood not only to document personal pasts, but also to focus on national identity as a dynamic and incomplete process. Mining Memory shows how 20th-century narratives and films reimagine the self and the nation by representing child and adolescent protagonists and their evolution, using the remembrance of childhood as part of a nation-making project. The book demonstrates how, in the context of Peru, fictions focusing on childhood become vehicles for the national reimagining and collective remembering central to much of Latin American literature. The figure of the child, as emblem of both a collective memory and an always deferred utopian project, holds special promise for twentieth-century Peruvian writers as they write from a national context rife with cultural, racial and political conflict. The book intervenes in debates internal to Peruvian cultural studies as well as wider conversations in Latin American Studies and post-colonial studies. Mining Memory provides a new understanding to both the Latin American and Anglo-American traditions regarding the representations of national subjectivities through the voices of the child and adolescent. Such a representational strategy performs a very particular kind of hybridity and temporal balancing act capable of addressing the very issues of cultural memory and fractured identities so relevant to multi-cultural, post-colonial cultural contexts.

A stylish critique of literary attitudes towards painting, TextualVision explores the simultaneous rhetorical formation and empirical fragmentation of visual reading in enlightenment Britain. Beginning with an engaging treatment of Popes Rape of the Lock, Timothy Erwin takes the reader on a guided tour of the pointed allusion, apt illustration, or the subtle appeal to the minds eye within a wide array of genres and texts, before bringing his linked case studies to a surprising close with the fiction of Jane Austen. At once carefully researched, theoretically informed and highly imaginative, Textual Vision situates textual vision at the cultural crossroads of ancient pictura-poesis doctrine and modernist aesthetics. It provides reliable interpretive poles for reading enlightenment imagery, offers vivid new readings of familiar works, and promises to invigorate the study of Restoration and eighteenth-century visual culture.

The fourteen essays in this volume share new and evolving knowledge, theories, and observations about the city of Athens or the region of Attica. The contents include essays on topography, architecture, religion and cult, sculpture, ceramic studies, iconography, epigraphy, trade, and drama.

This volume takes a fresh look at the literary culture of the Scottish Enlightenment and the wider impact of imaginative literature on Enlightenment culture in general. Covering key authors and work in areas as varied as philosophy, medicine, travel writing, religion, drama, history, publishing, and the periodical press, it provides scholars and students with a timely re-evaluation of the links between imaginative literature and the larger project of Enlightenment in Scotland and beyond.

This book analyzes the literary production of Spanish writers who place the global economic crisis at the center of their writing. This is the first comprehensive study of crisis literature, which is a genre that arose in response to the transformation of the European welfare state by the forces of liquid capital.

This work focuses on rural community versions of Spanish Early Modern Theatre and deals with cultural heritage and the contemporary impact of Golden Age theatre on local rural communities. To this end, I examine the burgeoning of annual rural Golden Age theatre festivals that generate site-centered, non-professional productions of the plays, and revisit the conflict between tradition and innovation, between popular and high culture between authority of literary heritage and the peoples right to the canon. The selection of Early Modern plays set in actual Spanish communitiesFuenteovejuna, El Alcalde de Zalamea, Numancia and Los tres blasones de Espaarenders an overview of the effect of these important works on their respective communities and focuses on the theatrical festivals as peripheral, subaltern, hybrid cultural phenomena. I take into consideration not only traditional and significant studies on these four renowned plays, but recent theories on staging, performance and popular reception and agency.The research involved crosses traditional disciplinary boundaries between literature, history, geography, and politics by centering on the appropriation and re-examination of a past that is continuously revised through contemporary performance, and which is adjusted to fit the needs and desires of the context in which it is interpreted. This diachronic approach allows for a new perspective on contemporary performances which question cultural politics, redefine tradition and transcend geo-political boundaries.

This book traces the development of modern ideas of masculinity and the political subject back to the Enlightenment period in Britain to show how the very concept of political agency was shaped by anti-effeminate ideas and beliefs. This study queers our understanding of the political subject, which is still the basis for debate and argument.

Focusing on representative nineteenth-century poets from India, British Guiana, and Australia, Brown Romantics shows how English Romantic poetry and the national traditions that sprang up in the colonies redefined each other and should therefore be read as the single formation, global Romanticism.

The economic crisis in Argentina in 2001-2002 that spilled over into Uruguay causing fiscal and political problems is the starting point for my research on space and theater, and it demonstrates why we must look at the River Plate in both global and local ways. Connections among monetary policies, industries, and legal, social, and political movements mean that national spaces like Uruguay's are fraught with tensions that come from both within and outside of borders. Recent economic crises like the one that is occurring in Greece, further demonstrate how nation states and trade blocks must constantly negotiate power as they toggle between national and international pressures. Nation states are being prompted to reconceive perspectives on governance that fall away from the parameters of Westphalian autonomy and reconcile their views with trends that instead require thinking about power as a network with shifting centers. The introduction launches the study by addressing these political and economic trends, the spatial turn in theater and performance studies, the rise of multiculturalism, and also examines the Uruguayan historical context of the post-dictatorship and impunity laws that pit national sovereignty against international human rights laws. These crises are enacted on the Uruguayan stage and contextualized through networks and spatial topographies, intertextualties on the page, explorations of history and memory, and ultimately notions of identity in four areas: the postdramatic and economic realm (chapter one: Peveroni), cultural geography and pyschogeography (chapter two: Morena), midrash and questions of human rights and growing fascist trends (chapter three: Sanguinetti), and finally in mapmaking on the stage through mise-en-perf/performise and ';wayfinding' through sites of contested power (chapter four: Calderon). The concluding chapter (Blanco) looks at the reinterpretation of Greek tragedy as a commentary on the messy process of democratization. Here, access to the polis and power are problematized through the lens of international sex trafficking and gendered roles that exclude portions of the populace from participation in the process of self-governance.

The Cuban writer Nicols Guillen has traditionally been considered a poet of mestizaje, a term that, whilst denoting racial mixture, also refers to a homogenizing nationalist discourse that proclaims the harmonious nature of Cuban identity. Yet, many aspects of Guillen's work enhance black Cuban and Afro-Cuban identities. Miguel Arnedo-Gomez explores this paradox in Guillen's pre-Cuban Revolution writings placing them alongside contemporaneous intellectual discourses that feigned adherence to the homogenizing ideology whilst upholding black interests. On the basis of links with these and other 1930s Cuban discourses, Arnedo-Gomez shows Guillen's work to contain a message of black unity aimed at the black middle classes. Furthermore, against a tendency to seek a single authorial consciousnessbe it mulatto or based on a North American construction of blacknessGuillen's prose and poetry are also characterized as a struggle for a viable identity in a socio-culturally heterogeneous society.

Scotland and the First World War: Myth, Memory and the Legacy of Bannockburn is a collection of new interdisciplinary essays interrogating the trans-historical myths of nation, belonging and martial identity that shaped Scotland's encounter with the First World War. In a series of thematically linked essays, experts from the fields of literature, history and cultural studies examine how Scotland remembers war, and how remembering war has shaped Scotland.

The Ladies of Llangollen is the first book length critical study of Lady Eleanor Butler and Miss Sarah Ponsonby, whose 1778 elopement and five decades of ';retirement' turned them into eighteenth century celebrities and pivotal figures in the historiography of female same-sex desire. Debates within the history of sexuality have long foundered over questions of what constitutes ';proof' of past sexual desires and practices, and the nature of Butler and Ponsonby's intimacy has been deemed inimical to productive critical consideration. In this ground-breaking study Fiona Brideoake attends to the archive of their shared lifewritten, performed, and enacted in the vernacular of the everydayto argue that they embodied an early iteration of female celebrity in which their queerness registered less as the mark of some specified non-normativity than as the effect of their very public, very visible resistance to sexual legibility. Throughout their lives and afterlives, Butler and Ponsonby have been figured as chaste romantic friends, prototypical lesbians, Bluestockings, Romantic domestic archetypes, and proleptically feminist modernists. The Ladies of Langollen demonstrates that this heterogeneous legacy discloses the queerness of their performatively instantiated identities.

Imperial Tapestries represents a transnational approach to questions of monarchical power and literary form in early modern Europe. In line with Barbara Fuchs's recent call for considerations of center versus periphery in Old World contexts, it explores the ways in which some of the most significant authors of the early modern era questioned the structures of Spanish Habsburg authority through ';imperial texts'texts that call attention to their organizational processin order to mirror authors' perceptions of the structures of Habsburg power.With a contextual basis in Fuchs' notion of imperium studies, ideas of self-fashioning, and theories of early modern reading, the study explores the ways in which complex narrative forms in the early modern period reflected the concerns with the structures of Habsburg imperial power subtly portrayed within the narratives themselves. A close reading of the various strands that form the tapestries of the texts at issue reveals a deep undercurrent of misgivings toward various manifestations of Spanish Habsburg power on the part of authors who had experienced its effects first-hand. Whether the complex narrative devices in question cast the Habsburg monarchs as monster, misogynist, sorceress, aloof shepherdess, or mad would-be knight errant, they all have one thing in common: the spatialized forms that they create correspond directly with the ways in which the authors in question perceive the more disillusioning aspects of Habsburg hegemony. Authors studied in the volume include Ludovico Ariosto, Garcilaso de la Vega, Jorge de Montemayor, Miguel de Cervantes, and Mara de Zayas.

In Media Res is a collection of critical essays and creative works that wrestle with key issues in twenty-first-century popular culture, including race, technology, gender, media, and politics. Its scope and coverage of a wide range of popular issues make this book a powerful introduction to popular culture studies in the contemporary moment.

Masculinity is not a monolithic phenomenon, but a historically discontinuous onea fabrication as it were, of given cultural circumstances. Because of its opacity and instability, masculinity, like more recognizable systems of oppression, resists discernibility. In Macho Ethics: Masculinity and Self-Representation in Latino-Caribbean Narrative, Jason Cortes seeks to reveal the inner workings of masculinity in the narrative prose of four major Caribbean authors: the Cuban Severo Sarduy; the Dominican American Junot Daz; and the Puerto Ricans Luis Rafael Snchez and Edgardo Rodrguez Juli. By exploring the relationship between ethics and authority, the legacies of colonial violence, the figure of the dictator, the macho, and the dandy, the logic of the Archive, the presence of Oscar Wilde, and notions of trauma and mourning, Macho Ethics fills a gap surrounding issues of power and masculinity within the Caribbean context, and draws attention to what frequently remains invisible and unspoken.