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"This book will make the case for multiple, diverse kinds of analysis to be taught in the high school English classroom. In addition to showing what written analysis looks like "in the wild," the authors will provide readers with a framework of fundamental analytical skills for instruction. Importantly, Marchetti and O'Dell will advocate for framing analytical writing around students' (of all levels and abilities) passions and expertise. And just as they do in their previous Heinemann book, Writing with Mentors, they will share resources for bringing many different kinds of analytical writing into the classroom"--
This anthology presents the results of the Second International Colloquium of the Narratology Research Group (Hamburg University). It engages in the exploration of approaches that broaden Narratology's realm. The contributions illustrate the transcendence of traditional models common to Narratology. They also reflect on the relevance of such a 'going beyond' as seen in more general terms: What interrelation can be observed between re-definition of object domain and re-definition of method? What potential interfaces with other methods and disciplines does the proposed innovation offer? Finally, what are the repercussions of the proposed innovation in terms of Narratology's self-definition? The innovative volume facilitates the inter-methodological debate between Narratology and other disciplines, enabling the conceptualization of a Narratology beyond traditional Literary Criticism.
In Writing with Mentors, high school teachers Allison Marchetti and Rebekah O'Dell prove that the key to cultivating productive, resourceful writers-writers who can see value and purpose for writing beyond school-is using dynamic, hot-off-the-press mentor texts. In this practical guide, they provide savvy strategies for:--finding and storing fresh new mentor texts, from trusted traditional sources to the social mediums of the day --grouping mentor texts in clusters that show a diverse range of topics, styles, and approaches --teaching with lessons that demonstrate the enormous potential of mentor texts at every stage of the writing process.
For a long time now, readers and scholars have strained against the limits of traditional literary criticism, whose precepts--above all, "objectivity"--seem to have so little to do with the highly personal and deeply felt experience of literature. The Intimate Critique marks a movement away from this tradition. With their rich spectrum of personal and passionate voices, these essays challenge and ultimately breach the boundaries between criticism and narrative, experience and expression, literature and life. Grounded in feminism and connected to the race, class, and gender paradigms in cultural studies, the twenty-six contributors to this volume--including Jane Tompkins, Henry Louis Gates, Jr., Shirley Nelson Garner, and Shirley Goek-Lin Lim--respond in new, refreshing ways to literary subjects ranging from Homer to Freud, Middlemarch to The Woman Warrior, Shiva Naipaul to Frederick Douglass. Revealing the beliefs and formative life experiences that inform their essays, these writers characteristically recount the process by which their opinions took shape--a process as conducive to self-discovery as it is to critical insight. The result--which has been referred to as "personal writing," "experimental critical writing," or "intellectual autobiography"--maps a dramatic change in the direction of literary criticism. Contributors. Julia Balen, Dana Beckelman, Ellen Brown, Sandra M. Brown, Rosanne Kanhai-Brunton, Suzanne Bunkers, Peter Carlton, Brenda Daly, Victoria Ekanger, Diane P. Freedman, Olivia Frey, Shirley Nelson Garner, Henry Louis Gates, Jr., Melody Graulich, Gail Griffin, Dolan Hubbard, Kendall, Susan Koppelman, Shirley Geok-Lin Lim, Linda Robertson, Carol Taylor, Jane Tompkins, Cheryl Torsney, Trace Yamamoto, Frances Murphy Zauhar
Literary culture has become a form of popular culture over the last fifteen years thanks to the success of televised book clubs, film adaptations, big-box book stores, online bookselling, and face-to-face and online book groups. This volume offers the first critical analysis of mass reading events and the contemporary meanings of reading in the UK, USA, and Canada based on original interviews and surveys with readers and event organizers. The resurgence of book groups has inspired new cultural formations of what the authors call "shared reading." They interrogate the enduring attraction of an old technology for readers, community organizers, and government agencies, exploring the social practices inspired by the sharing of books in public spaces and revealing the complex ideological investments made by readers, cultural workers, institutions, and the mass media in the meanings of reading.
Beyond the Story: American Literary Fiction and the Limits of Materialism argues that theology is crucial to understanding the power of contemporary American stories. By drawing on the theories of M. M. Bakhtin, Christian personalism, and contemporary phenomenology, Lake argues that literary fiction activates an irreducibly personal intersubjectivity between author, reader, and characters. Stories depend on a dignity-granting valuation of the particular lives of ordinary people, which is best described as an act of love that mirrors the love of the divine. Through original readings of the fiction of Philip Roth, Cormac McCarthy, Lydia Davis, Toni Morrison, and others, Lake enters into a dialogue with postsecular theory and cognitive literary studies to reveal the limits of sociobiology’s approach to culture. The result is a book that will remind readers how storytelling continually reaffirms the transcendent value of human beings in an inherently personal cosmos. This book will be of interest to students and scholars of theology and literary studies, as well as a broad audience of readers seeking to engage on a deeper level with contemporary literature.
Through a comparative analysis of the novels of Roberto Bolaño and the fictional work of César Aira, Mario Bellatin, Diamela Eltit, Chico Buarque, Alberto Fuguet, and Fernando Vallejo, among other leading authors, Héctor Hoyos defines and explores new trends in how we read and write in a globalized era. Calling attention to fresh innovations in form, voice, perspective, and representation, he also affirms the lead role of Latin American authors in reshaping world literature. Focusing on post-1989 Latin American novels and their representation of globalization, Hoyos considers the narrative techniques and aesthetic choices Latin American authors make to assimilate the conflicting forces at work in our increasingly interconnected world. Challenging the assumption that globalization leads to cultural homogenization, he identifies the rich textual strategies that estrange and re-mediate power relations both within literary canons and across global cultural hegemonies. Hoyos shines a light on the unique, avant-garde phenomena that animate these works, such as modeling literary circuits after the dynamics of the art world, imagining counterfactual "Nazi" histories, exposing the limits of escapist narratives, and formulating textual forms that resist worldwide literary consumerism. These experiments help reconfigure received ideas about global culture and advance new, creative articulations of world consciousness.
Felski presents a critical account of current American and European feminist literary theory, and analyzes contemporary fiction by women to show that no theorist can identify a specifically "female" or "feminine" kind of writing without reference to what gender means at a given historical moment. She argues that the idea of a feminist aesthetic is a non-issue needlessly pursued by feminists. She calls for a consideration of the social and cultural context in which these texts were produced and received, and demonstrates her method of an interdisciplinary approach to the analysis of literature which can integrate literary and social theory. ISBN 0-674-06894-7: $25.00; ISBN 0-674-06895-5 (pbk.): $9.95.
The first novel from Madagascar ever to be translated into English, Naivo’s magisterial Beyond the Rice Fields delves into the upheavals of the nation’s precolonial past through the twin narratives of a slave and his master’s daughter. Fara and her father’s slave, Tsito, have shared a tender intimacy since her father bought the young boy who’d been ripped away from his family after their forest village was destroyed. Now in Sahasoa, amongst the cattle and rice fields, everything is new for Tsito, and Fara at last has a companion to play with. But as Tsito looks forward toward the bright promise of freedom and Fara, backward to a twisted, long-denied family history, a rift opens that a rapidly shifting political and social terrain can only widen. As love and innocence fall away, their world becomes defined by what tyranny and superstition both thrive upon: fear. With captivating lyricism and undeniable urgency, Naivo crafts an unsentimental interrogation of the brutal history of nineteenth-century Madagascar as a land newly exposed to the forces of Christianity and modernity, and preparing for a violent reaction against them. Beyond the Rice Fields is a tour de force about the global history of human bondage and the competing narratives that keep us from recognizing ourselves and each other, our pasts and our destinies.
Like few other works of contemporary literature, Elena Ferrante’s Neapolitan novels found an audience of passionate and engaged readers around the world. Inspired by Ferrante’s intense depiction of female friendship and women’s intellectual lives, four critics embarked upon a project that was both work and play: to create a series of epistolary readings of the Neapolitan Quartet that also develops new ways of reading and thinking together. In a series of intertwined, original, and daring readings of Ferrante’s work and her fictional world, Sarah Chihaya, Merve Emre, Katherine Hill, and Juno Jill Richards strike a tone at once critical and personal, achieving a way of talking about literature that falls between the seminar and the book club. Their letters make visible the slow, fractured, and creative accretion of ideas that underwrites all literary criticism and also illuminate the authors’ lives outside the academy. The Ferrante Letters offers an improvisational, collaborative, and cumulative model for reading and writing with others, proposing a new method the authors call collective criticism. A book for fans of Ferrante and for literary scholars seeking fresh modes of intellectual exchange, The Ferrante Letters offers incisive criticism, insouciant riffs, and the pleasure of giving oneself over to an extended conversation about fiction with friends.