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This book contributes to the ongoing discussion of the place of contemporary Galician writer Blanca Andreu’s work within the 1980s post-“novísimo” movement, as part of a larger resurgence of the Surrealist in Spanish poetry and its possible placement in the more recent mystical poetry of Spain. It provides a detailed textual analysis of her poetry, and in doing so reveals not only that her work encompasses notions of the surreal and the mystical but also, although Andreu has so far written entirely in Castilian (Spanish), that her poetry utilizes a variety of traditional Galician and Portuguese symbols and images. In this way her work challenges the boundaries between what we as readers may accept as a solely Castilian, Galician, or Spanish poetic. It bases its transtheoretical framework on findings from such fields as Galician studies, Iberian studies, mysticism studies, paradigm shift studies, and regional studies over the past two decades. Ultimately, this comprehensive and unique study shows how Andreu’s multifaceted transnational work may pertain to, and expand, our knowledge of each of these areas of focus.
This book contributes to the ongoing discussion of the place of contemporary Galician writer Blanca Andreu's work within the 1980s post-"novísimo" movement, as part of a larger resurgence of the Surrealist in Spanish poetry and its possible placement in the more recent mystical poetry of Spain. It provides a detailed textual analysis of her poetry, and in doing so reveals not only that her work encompasses notions of the surreal and the mystical but also, although Andreu has so far written entirely in Castilian (Spanish), that her poetry utilizes a variety of traditional Galician and Portuguese symbols and images. In this way her work challenges the boundaries between what we as readers may accept as a solely Castilian, Galician, or Spanish poetic. It bases its transtheoretical framework on findings from such fields as Galician studies, Iberian studies, mysticism studies, paradigm shift studies, and regional studies over the past two decades. Ultimately, this comprehensive and unique study shows how Andreu's multifaceted transnational work may pertain to, and expand, our knowledge of each of these areas of focus.
This study offers a novel perspective of the poetry of acclaimed Spanish poet Ana Rossetti. This book informs on Posthumanism and the mystical in late 20th and early 21st Century Iberian poetics, and about how Rossetti's more recent poetry expresses a search for an essential meaning in a context criticized for its ontological emptiness.
Anti-Empire explores how different writers across Lusophone spaces engage with imperial and colonial power at its various levels of domination, while imagining alternatives to dominant discourses pertaining to race, ethnicity, culture, gender, sexuality, and class. This project thus offers in-depth interrogations of racial politics, gender performance, socio-economic divisions, political structures, and the intersections of these facets of domination and hegemony.
Art and Answerability, the work that would become Mikhail Bakhtin’s literary manifesto, was first published in Den Iskusstva (The Day of the Art) on September 13, 1919. Mikhail Bakhtin’s Heritage in Literature, Arts, and Psychology: Art and Answerability celebrates one hundred years of Bakhtin’s heritage. This unique book examines the heritage of Mikhail Bakhtinin a variety of disciplines.To articulate the enduring relevance and heritage of the varied works of Bakhtin, sixteen scholars from eight countries have come together, and each has brought his/her unique perspective to the subject. Bakhtin’s work in aesthetics, moral philosophy, linguistics, psychology, carnival, cognition, contextualism, and the history and theory of the novel are present here, as understood by a wide variety of distinguished scholars.
Major changes in media in the late 19th and early 20th centuries challenged traditional ideas about artistic representation and opened new avenues for authors working in the modernist period. Modernist authors’ reactions to this changing media landscape were often fraught with complications and shed light on the difficulty of negotiating, understanding, and depicting media. The author of Competing Stories: Modernist Authors, Newspapers, and the Movies argues that negative depictions of newspapers and movies, in modernist fiction, largely stem from worries about the competition for modern audiences and the desire for control over storytelling and reflections of the modern world. This book looks at a moment of major change in media, the dominance of mass media that began with the primarily visual media of newspapers and movies, and the ways that authors like Ernest Hemingway, Zora Neale Hurston, James Joyce, Djuna Barnes, and others responded. The author contends that an examination of this moment may facilitate a better understanding of the relationship between media and authorship in our constantly shifting media landscape.
Turning the Table offers a new resource to Hughes and Plath scholars studying the poets' archival materials and compositional processes. The book traces the theory of the ars poetica that each poet advanced while exploring the dialogues that emerged between Plath's Ariel and Hughes's Crow and Birthday Letters collections.
Throughout the twentieth century in Poland various ideologies attempted to keep queer voices silent—whether those ideologies were fascist, communist, Catholic, or neo-liberal. Despite these pressures, there existed a vibrant, transgressive trend within Polish literature that subverted such silencing. This book provides in-depth textual analyses of several of those texts, covering nearly every decade of the last century, and includes authors such as Witold Gombrowicz, Marian Pankowski, and Olga Tokarczuk, winner of the 2018 Nobel Prize in Literature. Jack J. B. Hutchens demonstrates the subversive power of each work, showing that through their transgressions they help to undermine nationalist and homophobic ideologies that are still at play in Poland today. Hutchens argues that the transgressive reading of Polish literature can challenge the many binaries on which conservative, heteronormative ideology depends in order to maintain its cultural hegemony.
Witness in the Era of Mass Incarceration works from the premise that if the law establishes and maintains both its practical and symbolic authority on the basis of its monopoly on legally sanctioned violence and the suffering threatened and delivered by such violence, then we cannot know the full human cost or concrete moral status of any legal state without human witness to the depth and manner of suffering meted out by such violence. The prison writer stands in the position to offer such witness. The prison writer knows the law’s violence in the flesh. For every other writer, reflection upon the degree and manner of suffering meted out under legal sanction—that is, reflection upon the full human cost of the contemporary legal order—is necessarily speculative. In close readings of first-person witness from prisons in the U.S., Ireland, and Africa, Witness in the Era of Mass Incarceration discovers literary tropes that chart at once local, national, and transnational conditions of carceral experience—the extant conditions of legalized suffering. In exhibiting the labor required to move from institutionalized abjection to the minimum requirements of rights-bearing personhood, this witness offers the sole credible vision of the possubility of a post carceral understanding of freedom.
The first major study to challenge the narrow definition of post traumatic stress disorder (PTSD) by rereading six American literary texts, this book argues for the importance of literature in representing not just circumscribed, singular traumatic events, as Cathy Caruth argued in the late nineties, but for giving voice to chronic and cumulative, or complex, traumatic experiences. This interdisciplinary study traces the development of father–daughter incest narratives published in the last hundred years, from male-authored fiction to female-authored memoir, bringing new readings to Fitzgerald’s Tender Is the Night, Ellison’s Invisible Man, and the Dylan Farrow-Woody Allen case. This study builds on the work of those ushering in a second-wave of trauma theory, which has argued that the difficulty of speaking about a traumatic experience is not necessarily caused by neurobiological changes that prevent victims from recalling details. Rather, it’s from social and political repercussions. In other words, they argue that many who experience trauma aren’t unable to deliver accounts; they fear the results. There is a significant gender component to trauma, whose implications, along with those of race and class, have largely gone unexamined in the first-wave of trauma theory. Exploring two additional questions about articulating trauma, this book asks what happens when the voice of trauma is crying out from what Toni Morrison has called the “most delicate,” “most vulnerable” member of society: a female child; and, second, what happens when the trauma is not just a time-limit event but chronic and cumulative experiences. Some traumatic experiences, namely father–daughter incest, are culturally reduced to the untellable, and yet accounts of paternal incest are readily available in American literature. This book is written in part as a response to the psychological community which failed to include complex PTSD in the latest edition of the DSM (DSM-5), denying victims, many of whom are father–daughter incest survivors, the validation and recognition they deserve and leaving many misdiagnosed and thereby mistreated.