In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

Selected papers from the Dowling College Mediterranean Conference.

Language and History in Theodor W. Adorno's Notes to Literature explores Adorno’s essays on literature as an independent contribution to his aesthetics with an emphasis on his theory and practice of literary interpretation. Essential to Adorno’s essays is his unorthodox treatment of language and history and his elaboration of the links between the two. One of Adorno’s major but often-neglected claims is that truth is relative to its historical medium, language. Adorno persistently and creatively tries to narrow the (...) gulf between truth and expression, philosophy and rhetoric, and his essays on literature are practical examples of his effort to critically rescue the rhetorical dimension of philosophy. Rather than relying exclusively on aesthetic concepts inherited from his predecessors in the Western tradition (Kant, Hegel, Nietzsche, Kierkegaard), Adorno’s essays seek to transgress and transcend the conceptual limitations of aesthetic discourse by appropriating a non-conceptual, metaphorical vocabulary borrowed from the literary texts he investigates. Thus, Adorno’s interpretations of literature mobilize an alternative subterranean, primarily essayistic and fragmentary discourse on language and history that eludes the categories that tend to predominate his thinking in his major work, Aesthetic Theory. This book puts forth the claim that Adorno’s essays on literature are of central relevance for an understanding of his aesthetics because they challenge the conceptual limitations of philosophical discourse. (shrink)

This book examines the entire range of sacred literature produced between the sixteenth- and nineteenth century to give a comprehensive account of Sikhism. Dealing with the historical evolution of the Sikh tradition, it discuss issues like self-image, identity, and ideology.

As a field of study, literature and science has gradually expanded to encompass both the impact of science on literary culture and the literary‐linguistic practices intrinsic to the production of scientific knowledge. Such transformations both reinforce and fundamentally recalibrate the detailed attention focused on scientific practice by historians of science since the 1980s. As a result, this essay and the Focus section it introduces suggest that history of science and literature and science are, in fact, interdependent fields. Attention (...) to their convergences will yield better understanding of the performative dimensions of scientific practices and thence of science itself as a form of making of knowledge of things and events in the world of nature. Science as a form of making involves the convergence of things, material practices, and a panoply of meaningful artifacts—instruments of thought and action—that refuse any simple dichotomy between “text” and “action.” -/- . (shrink)

This chapter examines the methodologies, new approaches, and challenges in the use of rabbinic literature to study the history of Judaism in late antiquity. It provides some examples that demonstrate some of the issues concerning the applicability of rabbinic literature to the study of Judaism in late-Roman Palestine. It concludes that rabbinic literature can serve as a historical source, especially when read indirectly and through the lens of well-defined theoretical frameworks, and when perceived as a rabbinic cultural (...) product that reflects delicate, sophisticated and hardly recoverable relationships between text and reality. (shrink)

A comprehensive, critical evaluation of the ideas of the Italian philosopher Benedetto Croce, including a summary of his life.

Centered on practices of the body - human bodies, the "body politic", this book considers a fascinating and largely uncanonical group of texts, as well as public dramas, rituals, and spectacles, from multidisciplinary perspectives. These essays consider the way the human body is subjected to educational discipline, to corporate celebration, and to the production of gendered identity through the experiences of marriage and childbirth. Among the topics explored are the "theatrics of punishment", including legal mutilation; the representation of the body (...) of Christ as social ritual; adolescent misbehaviour and its treatment; and conflicting ecclesiastical and lay models of sexual behaviour. The contributors also trace the definition of "poor", "foreign", and "dissident" bodies, examining private and public issues surrounding social identities. The result is a volume that incorporates insights from history, literature, medieval studies, and critical theory, drawing from the strengths of each discipline to illuminate a relatively little-studied period. Insightful and momentous, "Bodies and disciplines" marks an important intervention in the development of cultural studies of late medieval England. (shrink)

Taking as its point of departure certain necessary distinctions to be drawn regarding the concept of Geistesgeschichte – a concept by no means reducible to the early 20th-century school of literary-historical research –, this contribution calls to mind some enduring tasks of our discipline. The role played by the epistemic tools of conceptual history in the fulfillment of those tasks is exemplified and discussed with regard to a normatively rich concept of understanding as the final goal of literary studies.

This essay examines historical and contemporary connections between Buddhist and medical traditions through a study of the Accomplishing Medicine ( sman sgrub ) practice and the Yuthok Heart Essence ( G.yu thog snying thig ) anthology. Accomplishing Medicine is an esoteric Buddhist yogic and contemplative exercise focused on several levels of “alchemical” transformation. The article will trace the acquisition of this practice from India by Tibetan medical figures and its assimilation into medical practice. It will propose that this alchemical practice (...) forms the central nexus of connection between Tibetan medicine and the Buddhist Nyingma tradition, and that this little-studied link is not a marginal feature of Tibetan medicine but rather one that has had a significant shaping factor on each tradition throughout history. (shrink)

American cultural technologies of the early nineteenth century shaped Nature and the synonymous "native" in contradictory ways: celebrating the wilderness but then transforming it by cultivation, mourning lost "natives" (both people and species) while also naturalizing the succession of new Euro-American settlers. Settler colonial geopolitics understood its own territorial claims in association with the retreats, migrations, and expansions of select species populations: cattle replacing American bison or Euro-Americans replacing Indians on the western frontier. In this way, Euro-American descendants of settlers (...) who then considered themselves "natives" could be the natural stewards to "preserve" or "reform" wild remnants of nature while also identifying against the encroachment of the Old World. Technological arts as varied as moving panoramas and picturesque sketches depicted and enacted civilization overtaking the wild frontier through visual tours. This chapter explores how the sketch fits into technologies of seeing accompanying American settler colonialism and points to moments when it suggests ecological processes of ongoing passage rather than terminal extinction or succession. (shrink)

Recent philosophical discussion about the relation between fiction and reality pays little attention to our moral involvement with literature. Frank Palmer's purpose is to investigate how our appreciation of literary works calls upon and develops our capacity for moral understanding. He explores a wide range of philosophical questions about the relation of art to morality, and challenges theories that he regards as incompatible with a humane view of literary art. Palmer considers, in particular, the extent to which the values (...) and moral concepts involved in our understanding of human beings can be said to enter into our understanding of, and response to, fictional characters. The scope of his discussion encompasses literary aesthetics, ethics, and epistemology, and he makes extensive reference to literary examples. (shrink)

Writing Technology in Meiji Japan: A Media History of Modern Chinese Literature and Visual Culture. By Seth Jacobowitz. Harvard East Asian Monographs, vol. 387. Cambridge, Mass.: Harvard University Asia Center, Harvard University Press, 2015. Pp. xii + 299. $39.95.

This collection of essays intends to challenge conventional notions of what constitutes an American national literature. The new reading of Hegel in recent philosophy and critical theory subjects history and language to a thorough critique. Yet the connection of Hegel to American discourse has largely gone unexplored, and literary theorists have scarcely begun to interrogate the priorities of Hegelianism implicit in American literary history. The essays collected in Theorizing American Literature thus organize their arguments around the necessity to (...) rethink the process of historicizing American literature and to redefine the terms of discussion of some of its most familiar authors. (shrink)

If there is one trait common to almost all post-Holocaust theories of literature, it is arguably the notion that the literary event constitutes the affirmation of an alterity that resists all dialectical mastery and makes possible a post-metaphysical ethics. Beckett's oeuvre in particular has repeatedly been deployed as exemplary of just such an affirmation. In Beckett, Literature and the Ethics of Alterity , however, Weller argues through an analysis of the interrelated topics of translation, comedy, and gender that (...) to read Beckett in this way is to miss the strangely 'anethical' nature of his work. (shrink)

"Literature and the Right to Marriage," which bears the same title as the special issue that it introduces, takes up the challenge of the claim that marriage is a universal right. Framing the questions that traverse the five essays in the collection with a close reading of the sections on marriage from Hegel's Elements of the Philosophy of Right, the authors argue that if marriage can be considered a right, this right both guarantees access to and is founded upon (...) each partner's vow to abide by his or her vows to the other. Hegel's text is important because it underscores the linguistic dimension of the marriage ceremony; and it thus helps to show that, if the right to marriage were universal, it must be understood as the right to an irreplaceable kind of ritual speech. Moreover, this text is remarkably modern in its emphasis upon love as the condition of rightful marriage. Hegel considered the exchange of marriage vows to be a political event at which love becomes ethical , and ethics becomes political ; and thus also the point at which the model for "ethical love" becomes the verbally solemnized love between a man and a woman rather than the priestly love of the neighbor. Marriage, for Hegel, is always a turning point, both in the lives of the couple and in the history of the state. But this means that the importance of any marriage cannot be measured in terms of a norm; it can only be measured in terms of the amorous situation that precedes the event of marriage. Hegel's analyses are indispensable for grasping the stakes of the essays collected in this special issue and for addressing contemporary questions about which couples have the right to marry and what marriage becomes when those who would marry already have shared long and complex lives together. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What Is Literature? What Is Art?Integrating Essence and HistoryJerry Farber (bio)I. Aesthetic ExperienceThere remains a widespread belief among literature professors that literature doesn't exist; that is, that it has no stable, transhistorical identity. The very term "literature," we are reminded, shifts its meaning from one century to another. And even if someone should insist that, when they talk about literature, they're not talking about (...) writings in general or a familiarity with books or whatever else the term "literature" may have signified in the past, but only about those texts that one might consider aesthetic, what has this person gained? Not much—since a literature professor who, in recent decades, has turned for answers to the philosophical study of aesthetics will have been likely to confront either a Wittgensteinian dismantling of "art" or, more commonly these days, an institutional theory that defines "art" not on the basis of any properties that it might possess or of any function that it might serve, but solely on the basis of its relation to a cultural institution that, in return, is identified in relation to "art." One might be forgiven for concluding that to follow this quest for essence from "literature" to "aesthetic" or "art" is to go from one sinking ship to another.So literature—as Terry Eagleton, for example, has continued to insist through two editions of his widely read Literary Theory: An Introduction1 —doesn't exist. Which makes it awkward to be a literature professor and helps to explain why so many of us have tried to reinvent ourselves as professors of something else. But this is by no means a mere problem of academic nomenclature, since more than a few of us continue to believe on some level (a level obviously below the graduate level) that there is something there all the same, something that is more stable and less culturally contingent than our theories tell us it is. We just don't know how to legitimize that belief. This dilemma tends to be reflected one way or another in [End Page 1] our teaching. We may repress any essentialist qualms and seek a lofty theoretical consistency as cultural historians for whom aesthetics is merely one more thing to situate—and we pass this disbelief in literature on to our students. Or we may learn to live with cognitive dissonance and pass that on to our students. Literature is hardly alone among the arts in its identity problem, but it does seem to have a more advanced case.Someone came for a job interview on my campus a few years ago, fresh out of a fairly prestigious doctoral program. He made his presentation and then mentioned during the question period afterward that, in his classes, he did make an effort not to ignore a text's aesthetic qualities. He stopped, looked around apprehensively, and said, "I know the term's problematic, of course...""So how do you resolve that?" I asked.He shrugged. "I don't know really."Nonetheless, just as there has been a "return of the aesthetic" in broader terms, books and articles have been appearing from the mid-90s on, arguing for or heralding a reemergence of the aesthetic in literary study.2 Certainly this makes sense, if only as a way of trying to shore up our precarious position in the academy, since, as has been repeatedly observed, literary study, in the absence of any delimiting aesthetic criterion, simply dissolves into other disciplines. And if literature doesn't exist, why spend money on literature professors? Why not hire real historians, sociologists, philosophers, psychologists, etc., to do those more respectable and definable things we keep claiming we do? But still, practical motives aside, what is to be the theoretical basis for any return to literary aesthetics? Can this merely be a matter of fashion? Will "the return of the repressed" do as a justification?The time has come, I think, not to revert to a simple, blind faith in "literature" and "art," but to find a way of reconciling our stubborn essentialist belief, on one hand, and our constructionist perspective, on the other—a way of understanding and teaching literature... (shrink)

A comprehensive cross-referenced guide to classical Hinduism from its beginnings to the fifteenth century explains rites, concepts, myths, symbols, literary texts.

New Perspectives on Ezra-Nehemiah: History and Historiography, Text, Literature, and Interpretation. Edited by Isaac Kalimi. Winona Lake, Ind.: Eisenbrauns, 2012. Pp. xv + 296, illus. $49.50.

This volume brings together modernity as a Western project. From the early, via the classic and high to the late modern period, each chapter reveals a marked interdisciplinary approach to the various aspects of this century-old process.

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the works (...) of Nietzsche and Max Weber. (shrink)

Cognitive Science, Literature, and the Arts is the first student-friendly introduction to the uses of cognitive science in the study of literature, written specifically for the non-scientist. Patrick Colm Hogan guides the reader through all of the major theories of cognitive science, focusing on those areas that are most important to fostering a new understanding of the production and reception of literature. This accessible volume provides a strong foundation of the basic principles of cognitive science, and allows (...) us to begin to understand how the brain works and makes us feel as we read. (shrink)