The stimulating mix of academics and practising poets that have contributed to this volume provides an unusual and illuminating integration of critical and creative practice and a vibrantly diverse approach to questions of poetry and sexuality. Each section of essays is complemented by poems which creatively illustrate or develop the theme with which the essays critically engage. Rather than being limited to a specific genre, tradition, time or place, this collection seeks to make a virtue of contrast, comparison and juxtaposition. The collection is arranged into sections that range broadly across the thematic ground of dichotomies, traditions and revisions, microscopic and macroscopic perspectives, women and embodiment, and the notion of play and performance. Positioning eighteenth-century tinkers ballads alongside medieval Hebrew lyrics and the Blues of Gorgeous Puddin’, or making Dionysus rub shoulders with Sharon Olds and Mrs Rochester provides new perspectives on familiar material and valuable insights into more obscure work and the nature of sensual poetry as a mode of expression. As the editors suggest, the essays and poems presented collectively argue that writings about sexuality are always already about the way poets see and represent our bodies, the world and poetic language itself.
The subject of
Images of America in Scandinavia, the first comprehensive study of its kind, is as multifaceted, complex, and overwhelming as America or the United States, itself. It concerns the nature and function, reality and fiction of such images in Denmark, Norway, and Sweden past and present. The book is intended to be a source of solid information as well as a starting point for further inquiries into its cultural territory.
Part of its focus is on images of America rooted in printed sources, but, in addition, general surveys of other cultural signs of America in the Scandinavian countries present a broader picture and provide some of the background for the predominantly literary images. Issues such as government and politics, popular and vanguard music and art, and socio-cultural institutions intermittently come to the fore.
Framing the volume's three pairs of national surveys is an introductory chapter, which addresses the entire subject from a bird's-eye view, and a concluding chapter, which, by contrast, delves into the cross-fire of sentiments defining people whose images of America, are both American and Scandinavian. The discussion of America as perceived in Scandinavia sheds new light on intriguing inter-Scandinavian cultural distinctions and borderlines.
Countless books and articles, methods and theories, have been devoted to the study of national and cultural identity. Still, the exchanges between such identities and the images they engender - so indispensable for the participants in a global culture - remain clouded by many misconceptions.
Images of America in Scandinavia whose editors and authors all have Scandinavian backgrounds, will contribute an improved understanding of the cultural interplay between Scandinavia and the United States of America.
Picturing America: Photography and the Sense of Place argues that photography is a prevalent practice of making American places. Its collected essays epitomize not only how pictures situate us in a specific place, but also how they create a sense of such mutable place-worlds. Understanding photographs as prime sites of knowledge production and advocates of socio-political transformations, a transnational set of scholars reveals how images enact both our perception and conception of American environments. They investigate the power photography yields in shaping our ideas of self, nation, and empire, of private and public space, through urban, landscape, wasteland and portrait photography. The volume radically reconfigures how pictures alter the development of American places in the past, present, and future.
This volume stems from the idea that the notion of borders and borderlines as clear-cut frontiers separating not only political and geographical areas, but also cultural, linguistic and semiotic spaces, does not fully address the complexity of contemporary cultural encounters. Centering on a whole range of literary works from the United States and the Caribbean, the contributors suggest and discuss different theoretical and methodological grounds to address the literary production taking place across the lines in North American and Caribbean culture. The volume represents a pioneering attempt at proposing the concept of the border as a useful paradigm not only for the study of Chicano literature but also for the other American literatures. The works presented in the volume illustrate various aspects and manifestations of the textual border(lands), and explore the double-voiced discourse of border texts by writers like Harriet E. Wilson, Rudolfo Anaya, Toni Morrison, Cormac McCarthy, Louise Erdrich, Helena Viramontes, Paule Marshall and Monica Sone, among others. This book is of interest for scholars and researchers in the field of comparative American studies and ethnic studies.
The volume is dedicated to the memory of the late Calvin S. Brown of the University of Georgia, author of the first systematically conceived survey - Music and Literature: A Comparison of the Arts (1948) - of the branch of interart studies now generally known as Melopoetics. Part One consists of six original contributions by experts from Austria, Belgium, France, and the United States. Authored by a novelist and a composer/scholar, respectively, the first two essays - Jean Libis's “Inspiration musicale et composition littéraire: Réflexions sur un roman schubertien” and David M. Hertz's “The Composer's Musico-Literary Experience: Reflections on Song Writing” - focus, not surprisingly, on the creative process. The third piece - Francis' Claudon's review of the pertinent research done between 1970 and 1990 - complements the honoree's analogous report on the preceding decades, reprinted in the present volume, whereas the fourth - Jean-Louis Cupers' “Métaphores de l'écho et de l'ombre: Regards sur l'évolution des études musico-littéraires” - surveys the plethora of metaphorical applications, in music and literature, of two significant natural phenomena, the one acoustic and the other optical. Linked to each other, the two remaining papers - Ulrich Weisstein's ”The Miracle of Interconnectedness: Calvin S. Brown, a Critical Biography” and Walter Bernhart's “A Profile in Retrospect: Calvin S. Brown as a Musico-Literary Scholar” - offer critical accounts of the honoree's theoretical and methodological stance as viewed, in the first case, from a biographical angle and, in the second, in the light of subsequent scholarly practice.
Part Two bundles eleven of Professor Brown's previously uncollected articles, covering a period of nearly half a century of significant scholarly activity in the field. The selection demonstrates Brown's poignant interest in transpositions d'art exemplifying the “musicalization” of literature in the formal and structural, rather than thematic, domain as culminating in his trenchant critique of “music in poetry” as understood, somewhat naïvely, by Mallarmé and his critics, and, to a slightly lesser extent, by his translation of Josef Weinhebers' variations on Friedrich Hölderlin's ode “An die Parzen”. Just as Professor Brown's successive anatomies of melopoetic theory and practice illustrate his steadily growing sophistication and the maturing of his mind, so his Bloomington lecture “The Writing and Reading of Language and Music: Thoughts on Some Parallels Between two Artistic Media” reflects his unique ability to assemble, and organize, vast materials and comprehensive data in such a way as to reveal the underlying pattern.
Mesoamerican Manuscripts: New Scientific Approaches and Interpretations brings together a wide range of modern approaches to the study of pre-colonial and early colonial Mesoamerican manuscripts. This includes innovative studies of materiality through the application of non-invasive spectroscopy and imaging techniques, as well as new insights into the meaning of these manuscripts and related visual art, stemming from a post-colonial indigenous perspective.
This cross- and interdisciplinary work shows on the one hand the value of collaboration of specialists in different field, but also the multiple viewpoints that are possible when these types of complex cultural expressions are approached from varied cultural and scientific backgrounds.
Contributors are: Omar Aguilar Sánchez, Paul van den Akker, Maria Isabel Álvarez Icaza Longoria, Frances F. Berdan, David Buti, Laura Cartechini, Davide Domenici, Laura Filloy Nadal, Alessia Frassani, Francesca Gabrieli, Maarten E.R.G.N. Jansen, Rosemary A. Joyce, Jorge Gómez Tejada, Chiara Grazia, David Howell, Virginia M. Lladó-Buisán, Leonardo López Luján, Raul Macuil Martínez, Manuel May Castillo, Costanza Miliani, María Olvido Moreno Guzmán, Gabina Aurora Pérez Jiménez, Araceli Rojas, Aldo Romani, Francesca Rosi, Antonio Sgamellotti, Ludo Snijders, and Tim Zaman.
Books studying the presence of Spain in American literature, and the possible influence of Spain and its literature on American authors, are still rare. In 1955 appeared a pioneer work in this field – Stanley T. Williams’
The Spanish Background of American Literature. But that book went no further than W.D. Howells’
Familiar Spanish Travels, published in 1913.
The Last Good Land covers most of the twentieth century, including such groups as the Lost Generation and African American writers and exiles. It also considers then recent revolution in Spanish cultural and historical thought introduced by Américo Castro, which several American writers discussed in this volume may be said to have anticipated. Recent studies have expanded on Williams’ volumes, but in the majority of cases these works limit their scope to a single period (the nineteenth century, the Spanish Civil War), a movement (predominantly Romanticism) or authors known for their interest in Spain (Irving, Hemingway). The result is often a lack of continuum, or the exclusion of such authors as Saul Bellow, William Gaddis or Richard Wright. Within American literature itself,
The Last Good Land contains revisions of traditional interpretations of certain writers, including Hemingway. The variety of authors treated, both in respect to ethnicity and gender, guarantees a varied and global view of Spanish culture by American writers.