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The African American Novel in the Early Twenty-First Century comprises fourteen essays, each focussing on recent, widely known fiction by acclaimed African American authors. This volume showcases the originality, diversity, and vitality of contemporary African American literature, which has reached a bewildering yet exhilarating stage of disruption and continuity between today and yesterday, homegrown and diasporic identities, and local and global interrelatedness. Additionally, it delves into the complexity of the Black literary imagination and its interaction with broader cultural contexts. Lastly, it reflects on the evolution of the African American community, its tribulations, triumphs, challenges, and prospects.
The African American Novel in the Early Twenty-First Century comprises fourteen essays, each focussing on recent, widely known fiction by acclaimed African American authors. This volume showcases the originality, diversity, and vitality of contemporary African American literature, which has reached a bewildering yet exhilarating stage of disruption and continuity between today and yesterday, homegrown and diasporic identities, and local and global interrelatedness. Additionally, it delves into the complexity of the Black literary imagination and its interaction with broader cultural contexts. Lastly, it reflects on the evolution of the African American community, its tribulations, triumphs, challenges, and prospects.
Readings in Environmental Humanities
The series Nature, Culture and Literature is dedicated to publications approaching literature and other forms of text-based communication from an ecological standpoint. It provides a platform for the practice of ecocriticism in the broadest sense, understood as an issue-driven field of cultural enquiry comprising critical textual analysis and theorising on human/nature relations.
The series publishes single-author monographs and thematically focused collections of essays, on literature across languages, cultures and periods, and on other forms of writing. It is open to scholars working in green media studies, environmental history, philosophy, social and cultural theory, and linguistics, as well as national literatures and comparative literature.
Individual volumes focus on a specific area of research, these can include:
・Examining the work of a single author or the characteristics of the environmental imagination in a particular culture.
・Mapping one of the themes central to popular understandings of nature and explore their creative reconfiguration (e.g. nature and national/regional identity, human/ animal relations, or climate change).
・Developing and illustrating a particular theoretical approach (for instance in ecolinguistics, energy humanities, or econarratology / ecopoetics).
All volumes are peer reviewed.
Authors are cordially invited to submit proposals to the publisher at BRILL, Christa Stevens.
The series publishes single-author monographs and thematically focused collections of essays, on literature across languages, cultures and periods, and on other forms of writing. It is open to scholars working in green media studies, environmental history, philosophy, social and cultural theory, and linguistics, as well as national literatures and comparative literature.
Individual volumes focus on a specific area of research, these can include:
・Examining the work of a single author or the characteristics of the environmental imagination in a particular culture.
・Mapping one of the themes central to popular understandings of nature and explore their creative reconfiguration (e.g. nature and national/regional identity, human/ animal relations, or climate change).
・Developing and illustrating a particular theoretical approach (for instance in ecolinguistics, energy humanities, or econarratology / ecopoetics).
All volumes are peer reviewed.
Authors are cordially invited to submit proposals to the publisher at BRILL, Christa Stevens.
New Directions in International Theatre and Performance
Series Editor:
Published in association with the International Federation for Theatre Research (IFTR), this series is a platform for innovative scholarly work that takes seriously the pledge of the international. We ask: what promise does this term hold for Theatre and Performance Studies today? First coined in the late eighteenth century to define a space for inter-state relations, the term has since migrated from law to political and cultural practice, retaining connotations of an ever-expanding, progressive vision of global cooperation. Theatre and Performance Studies have long pursued the promise of the international, from re-thinking “national” canons to developing novel theoretical and methodological foundations for the study of theatre and performance. The series publishes both monographs and edited volumes that represent and at the same time critically interrogate these very processes. We thus invite submissions that examine the evolving diversity of performances from Eurasia, Africa, the Americas, and Oceania. We seek to become an intellectual home to manuscripts that contain an overtly international or transnational dimension, explore new historical, methodological and geographical frontiers, and address pressing contemporary concerns.
For information on the IFTR and its annual conferences, please see the organization’s website: www.iftr.org.
For inquiries regarding the Series, please contact the Editors, Milija Gluhovic (m.gluhovic@warwck.ac.uk) and Emine Fişek (emine.fisek@boun.edu.tr).
Interested authors are invited to submit proposals for collected volumes to the publisher at BRILL, Christa Stevens.
For information on the IFTR and its annual conferences, please see the organization’s website: www.iftr.org.
For inquiries regarding the Series, please contact the Editors, Milija Gluhovic (m.gluhovic@warwck.ac.uk) and Emine Fişek (emine.fisek@boun.edu.tr).
Interested authors are invited to submit proposals for collected volumes to the publisher at BRILL, Christa Stevens.
Tracing the Development of the Pirate Motif with Disney’s Pirates of the Caribbean
Series:
Contemporary Cinema, Volume: 8
Author:
Postmodern Pirates offers a comprehensive analysis of Disney’s Pirates of the Caribbean series and the pirate motif through the lens of postmodern theories. Susanne Zhanial shows how the postmodern elements determine the movies’ aesthetics, narratives, and character portrayals, but also places the movies within Hollywood’s contemporary blockbuster machinery. The book then offers a diachronic analysis of the pirate motif in British literature and Hollywood movies. It aims to explain our ongoing fascination with the maritime outlaw, focuses on how a text’s cultural background influences the pirate’s portrayal, and pays special attention to the aspect of gender. Through the intertextual references in Pirates of the Caribbean, the motif’s development is always tied to Disney’s postmodern movie series.
Tracing the Development of the Pirate Motif with Disney’s Pirates of the Caribbean
Series:
Contemporary Cinema, Volume: 8
Author:
Postmodern Pirates offers a comprehensive analysis of Disney’s Pirates of the Caribbean series and the pirate motif through the lens of postmodern theories. Susanne Zhanial shows how the postmodern elements determine the movies’ aesthetics, narratives, and character portrayals, but also places the movies within Hollywood’s contemporary blockbuster machinery. The book then offers a diachronic analysis of the pirate motif in British literature and Hollywood movies. It aims to explain our ongoing fascination with the maritime outlaw, focuses on how a text’s cultural background influences the pirate’s portrayal, and pays special attention to the aspect of gender. Through the intertextual references in Pirates of the Caribbean, the motif’s development is always tied to Disney’s postmodern movie series.
Author:
This chapter focuses on the pirate characters in Disney’s movie series. It highlights how Disney rewrites, and thus revives, the pirate motif for the twenty-first century. After a detailed analysis of the main pirate, Jack Sparrow, and its proclaimed uniqueness, the chapter compares and contrast Jack to the Gothic pirate villains and their crews, before turning to the role that love relationships, desires, and romance play in the movie series. The chapter also reads Pirates of the Caribbean alongside other postmodern movie series, most notably Star Wars, to reveal how they rely on the same character archetypes and power relations in order to appeal to a worldwide audience.
Author:
The second part of the book traces the development of the pirate motif in both British literature and Hollywood film from the early nineteenth to the twenty-first century. Each chapter concentrates on one major period in order to show how the motif was adapted by authors to fit their cultural background and current aesthetics. In addition, every chapter closes with a comparative subchapter that highlights which elements of the period are reworked in Disney’s Pirates of the Caribbean.
Author:
Mainstream blockbusters have often been eschewed by academic criticism, although they have a huge impact on popular culture. This book uses postmodern film theories and a mainstream blockbuster series, Disney’s Pirates of the Caribbean, to investigate the development of the pirate motif in literature and film over the last two hundred years.
Author:
Starting with an analysis of Romantic pirate stories, among them Lord Byron’s The Corsair and Walter’s Scott The Pirate, the chapter traces the transformation of the pirate from an outlaw rebel in adult literature into the cutthroat villain of juvenile fiction. The analysis of nineteenth-century pirate fiction includes, among other books, the two classics of British pirate fiction: Robert Louis Stevenson’s Treasure Island and James Matthew Barrie’s Peter Pan. The representation of the pirate in early twentieth century children’s literature is illustrated by discussing Richard Hughes’ A High Wind in Jamaica and Arthur Ransome’s Swallows and Amazon series. The chapter concentrates its analysis on the representation of the pirate captain and on the evaluation of piracy in general, but also shows how the genre – already long before Disney’s Pirates of the Caribbean – has relied on intertextuality and on borrowing elements from earlier texts. At the end of the chapter, Jack Sparrow’s indebtedness to his Romantic predecessors and Long John Silver is investigated. Furthermore, the chapter tries to illuminate the origin and development of traits and features nowadays commonly associated with the pirate motif, like the parrot, pieces of eight, and treasure maps.
Author:
This chapter illuminates the transition from historical travel reports to fictional representations of piracy, and highlights the difficulties of drawing a clear line between the two. It is also shown that Pirates of the Caribbean consciously plays upon this ambiguity when alluding to historical facts and figures.