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Author: Pia Wiegmink
Abolitionist Cosmopolitanism redefines the potential of American antislavery literature as a cultural and political imaginary by situating antislavery literature in specific transnational contexts and highlighting the role of women as producers, subjects, and audiences of antislavery literature. Pia Wiegmink draws attention to locales, authors, and webs of entanglement between texts, ideas, and people. Perceived through the lens of gender and transnationalism, American antislavery literature emerges as a body of writing that presents profoundly reconfigured literary imaginations of freedom and equality in the United States prior to the Civil War.
Already in 1854, Henry David Thoreau had declared in Walden that “Most men appear never to have considered what a house is” (225). Like Thoreau, many other renowned American writers have considered what houses are and, particularly, what houses do, and they have created fictional dwellings that function not only as settings, but as actual central characters in their works. The volume is specifically concerned with the structure, the organization, and the objects inside houses, and argues that the space defined by rooms and their contents influences the consciousness, the imaginations, and the experiences of the humans who inhabit them.

Contributors are: Cristina Alsina Rísquez, Rodrigo Andrés, Vicent Cucarella-Ramon, Arturo Corujo, Mar Gallego, Ian Green, Michael Jonik, Wyn Kelley, Cynthia Lytle, Carme Manuel, Paula Martín-Salván, Elena Ortells, Eva Puyuelo-Ureña, Dolores Resano, and Cynthia Stretch.
The European Association for American Studies Series
Series Editor: Marek Paryż
European Perspectives on the United States: The European Association for American Studies Series is published under the auspices and with the editorial involvement of the European Association for American Studies. This peer-reviewed series provides a broad reflection of the state of American Studies in Europe. While the series prioritizes academic works that accentuate the importance of transnationality and interdisciplinarity in the study of the United States, it aims to properly recognize the diverse and relevant European achievements in the main disciplines of American Studies, to include but not limited to literary studies, cultural studies, film and media studies, history, and the social sciences. Benefiting from the varied professional alignments of European Americanists, European Perspectives on the United States will initiate new directions of dialogue in American Studies by opening the field to voices from across nations and continents.

European Perspectives on the United States has value for a wide and diverse range of academics and postdoctoral and postgraduate research students representing an array of disciplines within the humanities and social sciences. The series is intended to serve as an inclusive resource for researchers and readers with a multi-/interdisciplinary focus in American Studies. Given the central importance of American Studies in relation to key questions of global import relating to climate, migration, borders, Black Lives Matter, #MeToo, terrorism, and many other topics, the series serves as a much-needed forum to foster dialogue and cooperation within and between spheres of inquiry and activity.

Manuscripts should be at least 80,000 words in length (including footnotes and bibliography). Manuscripts may also include illustrations and other visual material. The editors will consider proposals for original monographs, edited collections, translations, and critical primary source editions.

Authors are cordially invited to submit proposals and/or full manuscripts by email to the publisher Jason Prevost. Please direct all other correspondence to Associate Editor Debbie de Wit.

Authors will find general proposal guidelines at the Brill Author Gateway.
F. Scott Fitzgerald on Silent Film recalibrates the celebrated author’s early career and brings fresh understanding to the life of one of America’s truly great literary figures. Scholars have previously focused on Fitzgerald’s connection with Hollywood when he worked in Tinseltown as a screenwriter in the 1930s. However, this ground-breaking research reveals the key role that Silent Hollywood played in establishing Fitzgerald’s burgeoning reputation in the early to mid-1920s. Vividly written and drawing on a wealth of new sources, this book documents Martina Mastandrea’s exciting discovery of the first film ever adapted from a work by Fitzgerald.
The Pirate's Way
Author: Arne Zuidhoek
The romantic picture of pirates as colourful individuals terrorizing the “seven seas” has long eclipsed historical fact. The Pirate Encyclopedia contains the most complete body of data available on the rovers’ rightful legitimacy as subjects of investigation. For the first time we see so many pirates (c. 7.000) brought together. This pirate’s who’s who, including the women pirates, makes it possible to see different areas and their significance and circumstances, and so the essential companion for scholars, students and a general audience intrigued by tales and facts.


As a semantic reaction against the miserabilism derived from the economic crisis and social instability of the first half of the nineteenth century, joie de vivre surfaced in France. It denotes enjoyment and the ability to recover from calamitous events. In The Insect (1857) by Jules Michelet, joie de vivre constitutes movement and architectural creation, epitomised in the beehive – ‘the veritable Athens of the Insect World’. Yet the sentiment turns ambiguous in La Joie de vivre (1883) by Émile Zola, for whom it is an attitude required not only to face the contradictions of modernity but also to succeed in the capitalist manipulation of nature through architecture. To explore how the built environment manifests emotional experience, this essay follows the trajectory of joie de vivre, from its appearance as an idiomatic amalgamation to other conceptual variations, including élan vital and jouissance.

In: Emotions: History, Culture, Society

Hampton, Timothy, Cheerfulness: A Literary and Cultural History (New York: Zone Books, 2022). ISBN: 9781942130604.

This is a valuable addition to the history of emotion – intellectual history division. Timothy Hampton, a comparative literature scholar, traces the rise of references to cheerfulness, and their meanings, from the later Middle Ages through the increasing routinisation of the emotion in Enlightenment and early nineteenth-century characterisations, to its commercialisation in the twentieth-century. Data derive primarily from literature and philosophy, but there are brief and useful references to nineteenth-century advice literature and to several more popular genres in the twentieth-century

In: Emotions: History, Culture, Society
Author: Rob Boddice

What then does ich bin mean? The old word bauen, to which the bin belongs, answers: ich bin, du bist mean: I dwell, you dwell. The way in which you are and I am, the manner in which we humans are on the earth, is Buan, dwelling. To be a human being means to be on the earth as a mortal. It means to dwell. 1

Thus, we build. I am not generally given to quoting Heidegger, and it perhaps will not repay the reader too much

In: Emotions: History, Culture, Society
Author: G. A. Bremner

I approach this response primarily as an architectural historian, and one, admittedly, who has paid little attention to the idea of emotions in my own writing. This is perhaps not surprising, for as Emre Gönlügür notes in his piece on Yeşilçam film in Turkey, until recently, emotions have received relatively little attention in histories of the built environment. Indeed, the need to present such a collection of essays suggests as much. Having been invited by Sara to read and formulate some kind of response to these essays has made me wonder what I have been missing, and raised the question

In: Emotions: History, Culture, Society
Author: Rob Boddice

Yao, Xine, Disaffected: The Cultural Politics of Unfeeling in Nineteenth-century America (Durham, NC: Duke University Press, 2021). ISBN: 9781478014836

Historians of nineteenth-century emotions are familiar with critiques of universal human sympathy and the way it mobilised and privileged elite white male conceptualisations of civilisation. The rhetoric, politics and emotional practices of this sympathy, characterised by claims to social benevolence whether in religious or evolutionary terms, undergirded colonialism, the political disenfranchisement of women and working-class men, social exclusion from access to education, and eugenics, among other things. What has been much less clear are the historical experiences

In: Emotions: History, Culture, Society