Book and Periodical Studies
Comics and Graphic Novel Culture
Literary Critcism, Australia
Literary Criticism, Africa
Literary Criticism, African American
Literary Criticism, Asia
Literary Criticism, Caribbean
Literary Criticism, Eastern Europe
Literary Criticism, Feminist
Literary Criticism, France
Literary Criticism, Germany
Literary Criticism, Latin America
Literary Criticism, Poetry
Literary Criticism, Religion
Literary Criticism, Short Stories
Literary Criticism, Theater
Literary Criticism, UK
Literary Criticism, US
Literary Criticism, Women
Literary Criticism, Women Authors
John Ruskin's prominence as the author of “Of Queen's Gardens,” his principal statement of Victorian gender opposition, makes him an ideal example for analyzing the power of mythic discourse to undermine gender division. Here, Ruskin creates a vision of feminine authority that draws simultaneously upon several sources (including the goddess Athena and Queen Victoria herself) to empower women in a worldwide arena redefined as a broader version of their domestic realm.
The Depression that follows the 1929 stock market crash is emptying Paris of many American expatriates. Two exceptions are Dorothy and James T. Farrell, the naïve young couple who have fled their home in Chicago for the fabled liberation that Paris seems to offer. In this telling account drawn from interviews, diaries, and letters home, Edgar Marquess Branch presents a composite view of the life of a young author yet to complete his masterpiece, Studs Lonigan.
Shakespeare in Production examines a number of plays in context. Included are the 1936 Romeo and Juliet, unpopular with critics of filmed Shakespeare, but very much a “photoplay” if its time; the opening sequences of filmed Hamlets which span more than seventy years; The Comedy of Errors on television, where production of this script is almost impossible; and the Branagh Much Ado About Nothing, a “popular” film discussed in the context of comedy as a genre.
José María Arguedas (1911–1969) is one of the most important authors to speak to issues of the survival of native cultures. José María Arguedas: Reconsiderations for Latin American Cultural Studies presents his views from multiple perspectives for English-speaking audiences for the first time.
American literary life has been enriched over the past generation by habits of criticism practiced at Amherst College during the tenure of William H. Pritchard. These essays, which were commissioned as a tribute to Pritchard, celebrate his fortieth year at Amherst and demonstrate the breadth of his influence in the fields of theory, criticism, and pedagogy.
Four essential questions: Why does one fish? How should one properly fish? What relations are created in fishing? And what effects does fishing have on the future? Haunted by Waters is a self-examination by the author as he constructs his own narrative and tries to answer these questions for himself. But it is also a thorough examination of the answers he uncovers in the course of reading what's been written on the subject.
Detective fiction is usually thought of as genre fiction, a vast group of works bound together by their use of a common formula. But, as Peter Thoms argues in his investigation of some of the most important texts in the development of detective fiction in the nineteenth century, the very works that establish the genre's formulaic structure also subvert that structure.
Writing in Disguise is a series of increasingly personal essays that both discuss and dramatize through firsthand experience the significance of subordination in academic life, in terms of issues and structures but above all in terms of texts. Some are written: memos, rejection letters, even resignation letters. Some are not: anecdotes, protests, jokes, parodies.
America’s Sketchbook recaptures the drama of nineteenth-century American cultural life, placing at its center a genre—the literary sketch—more available than the novel, less governable by the critical establishment, and shot through with the tensions and types of local and national culture-making.
Just as mass-market magazines and cheap books have played important roles in the creation of an American identity, those skilled craftsmen (and women) whose careers are the subjects of Ronald Weber's narrative profoundly influenced the outlook and strategies of the high-culture writers who are generally the focus of literary studies.
When James Lane Allen defined the “Feminine Principle” and the “Masculine Principle” in American fiction for the Atlantic Monthly in 1897, he in effect described local color fiction and naturalism, two branches of realism often regarded as bearing little relationship to each other.
Since the publication of The Moral Trollope by Ruth apRoberts in 1971, literary critics have generally agreed that Trollope’s morality is worthy of study. apRoberts sees Trollope as an early exponent of “situation ethics,” a liberal moralist who believes that traditional principles must always bend to the circumstances of the particular case.
Colonization, Violence, and Narration in White South African Writing
André Brink, Breyten Breytenbach, and J. M. Coetzee
By Rosemary Jane Jolly
The representation of pain and suffering in narrative form is an ongoing ethical issue in contemporary South African literature. Can violence be represented without sensationalistic effects, or, alternatively, without effects that tend to be conservative because they place the reader in a position of superiority over the victim or the perpetrator?
Browning’s Fra Lippo Lippi says that we may pass things a hundred times and never see them. One thing that Browning’s readers have passed without seeing, or at least without remarking upon, is the circular conclusion in so many of his poems. Some sixty poems (almost a third of them) have such conclusions. These sixty span his entire career and include both well-known and neglected poems.
Goslee’s study maintains that Newman’s Anglican writing, although widely considered irrelevant to the main currents of the post-Enlightenment, in fact reinterprets Romantic transcendence within a uniquely dialogic paradigm. It is this paradigm, he argues, that critics need to explore as a link between sacred and secular domains within Victorian culture. Goslee’s own exploration is accomplished in three parts.