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In a major statement on the relation of art and politics in America, Tom Lutz identifies a consistent ethos at the heart of American literary culture for the past 150 years. Through readings of Sherwood Anderson, Willa Cather, Hamlin Garland, Ellen Glasgow, Sarah Orne Jewett, Sinclair Lewis, Edgar Lee Masters, Claude McKay, Edith Wharton, Anzia Yezierska, and others, Lutz identifies what he calls literary cosmopolitanism: an ethos of representational inclusiveness, of the widest possible affiliation, and at the same time one of aesthetic discrimination, and therefore exclusivity.At the same time that it embraces the entire world, in Lutz's view, literary cosmopolitanism necessitates an evaluative stance, and it is this doubleness, this combination of egalitarianism and elitism, that animates American literature since the Civil War. The nineteenth century's realists and sentimentalists, the writers of the Harlem Renaissance and of the Southern Renaissance, the firebrands who brought in the new canon and the traditionalists who struggled to save the old all ascribe, Lutz argues, to the same cosmopolitan values, however much they disagree on what these values demand of those who hold them.
Much criticism has been directed at negative stereotypes of Appalachia perpetuated by movies, television shows, and news media. Books, on the other hand, often draw enthusiastic praise for their celebration of the simplicity and authenticity of the Appalachian region. Dear Appalachia: Readers, Identity, and Popular Fiction since 1878 employs the innovative new strategy of examining fan mail, reviews, and readers’ geographic affiliations to understand how readers have imagined the region and what purposes these imagined geographies have served for them. As Emily Satterwhite traces the changing visions of Appalachia across the decades, from the Gilded Age (1865–1895) to the present, she finds that every generation has produced an audience hungry for a romantic version of Appalachia. According to Satterwhite, best-selling fiction has portrayed Appalachia as a distinctive place apart from the mainstream United States, has offered cosmopolitan white readers a sense of identity and community, and has engendered feelings of national and cultural pride. Thanks in part to readers’ faith in authors as authentic representatives of the regions they write about, Satterwhite argues, regional fiction often plays a role in creating and affirming regional identity. By mapping the geographic locations of fans, Dear Appalachia demonstrates that mobile white readers in particular, including regional elites, have idealized Appalachia as rooted, static, and protected from commercial society in order to reassure themselves that there remains an “authentic” America untouched by global currents. Investigating texts such as John Fox Jr.’s The Trail of the Lonesome Pine (1908), Harriette Arnow’s The Dollmaker (1954), James Dickey’s Deliverance (1970), and Charles Frazier’s Cold Mountain (1997), Dear Appalachia moves beyond traditional studies of regional fiction to document the functions of these narratives in the lives of readers, revealing not only what people have thought about Appalachia, but why.
In late nineteenth-century South Asia, the arrival of print fostered a dynamic and interactive literary culture. There, within the pages of Urdu-language periodicals and newspapers, readers found a public sphere that not only catered to their interests but encouraged their reactions to featured content. Cosmopolitan Dreams brings this culture to light, showing how literature became a site in which modern daily life could be portrayed and satirized, the protocols of modernity challenged, and new futures imagined. Drawing on never-before-translated Urdu fiction and prose and focusing on the novel and satire, Jennifer Dubrow shows that modern Urdu literature was defined by its practice of self-critique and parody. Urdu writers resisted the cultural models offered by colonialism, creating instead a global community of imagination in which literary models could freely circulate and be readapted, mixed, and drawn upon to develop alternative lines of thinking. Highlighting the participation of readers and writers from diverse social and religious backgrounds, the book reveals an Urdu cosmopolis where lively debates thrived in newspapers, literary journals, and letters to the editor, shedding fresh light on the role of readers in shaping vernacular literary culture. Arguing against current understandings of Urdu as an exclusively Muslim language, Dubrow demonstrates that in the late nineteenth century, Urdu was a cosmopolitan language spoken by a transregional, transnational community that eschewed identities of religion, caste, and class. The Urdu cosmopolis pictured here was soon fractured by the forces of nationalism and communalism. Even so, Dubrow is able to establish the persistence of Urdu cosmopolitanism into the present and shows that Urdu’s strong tradition as a language of secular, critical modernity did not end in the late nineteenth century but continues to flourish in film, television, and on line. In lucid prose, Dubrow makes the dynamic world of colonial Urdu print culture come to life in a way that will interest scholars of modern Asian literatures, South Asian literature and history, cosmopolitanism, and the history of print culture.
The Providence of John and Abigail Adams -- John Quincy and Louisa Catherine Adams at prayer -- Charles Francis Adams on pilgrimage -- The cosmopolitan Christianity of Henry Adams -- Higher than a city upon a hill.
In recent years postnational theory has become a primary tool for the analysis of European integration. Though interpretations of the concept vary, there is a wide consensus about postnationalism as a way to forge a European identity beyond a particular national history. In line with the German historical context in which this key concept was formulated in the first place, postnationalism is considered to be an adaptation of Kantian cosmopolitanism to the conditions of the modern world. This collection of essays is the first to systematically and comparatively explore the links between postnationalism and cosmopolitanism within the context of the “New Europe”. Contributors: Susana Araújo, Sibylle Baumbach, Helena Buescu, John Crosetti, Maria DiBattista, César Domínguez, Soren Frank, Birgit Mara Kaiser, Dorothy Odartey-Wellington, Maria Esteves Pereira, Karen-Margrethe Simonsen, Aysegul Turan.
Elizabeth Harrower: Critical Essays is the first sustained study of this acclaimed Australian author. It brings together two celebrated novelists and ten noted critics of Australian literature to consider the legacy and continuing importance of this major literary figure. The essays examine all of Harrower’s published fiction, from her first short story to the long-delayed publication of In Certain Circles in 2014. Together they provide an wide ranging introduction to the extraordinary imaginative and intellectual project of her work. They explore her engagement with twentieth-century history and post-war society, with modernism and modernity, and with the personal impacts of mass media, technology and industry. They demonstrate her grasp of the ethical and philosophical challenges confronting her readers and characters in late modernity as seen from a number of distinctive vantage points including the harbourside mansions and commercial centres of post-war Sydney, the suburbs of industrial Newcastle, and the bed-sitters of expatriate London in the 1960s. Together they offer new insights into an Australian writer at the crossroads of modernism and postmodernism, inviting readers to read and re-engage with Harrower’s work in a new light.
In this thought-provoking study of nineteenth-century America, J. Samaine Lockwood offers an important new interpretation of the literary movement known as American regionalism. Lockwood argues that regionalism in New England was part of a widespread woman-dominated effort to rewrite history. Lockwood demonstrates that New England regionalism was an intellectual endeavor that overlapped with colonial revivalism and included fiction and history writing, antique collecting, colonial home restoration, and photography. The cohort of writers and artists leading this movement included Sarah Orne Jewett, Alice Morse Earle, and C. Alice Baker, and their project was taken up by women of a younger generation, such as Charlotte Perkins Gilman and Pauline Elizabeth Hopkins, who extended regionalism through the modernist moment. Lockwood draws on a diverse archive that includes fiction, material culture, collecting guides, and more. Showing how these women intellectuals aligned themselves with a powerful legacy of social and cultural dissent, Lockwood reveals that New England regionalism performed queer historical work, placing unmarried women and their myriad desires at the center of both regional and national history.
Violet America takes on the long habit among literary historians and critics of thinking about large segments of American literary production in terms of regionalism or "local color" writing, thus marginalizing important literary works. Rather than simply celebrating regional difference, Jason Arthur argues, regional cosmopolitan fiction blends the nation's cultural polarities into a connected, interdependent America. Book jacket.
NEW ENGLAND BEYOND CRITICISM “Elisa New’s book is a remarkable achievement. It is very rare that a critic manages to ask what seem exactly the right questions, then to answer them in a lively, brilliant, evocative, and supremely intelligent prose.” Charles F. Altieri, University of California “Elisa New is a refreshing voice among critics and historians of literature. She has a keen sense of the nature of New England and its deep spiritual resources, reaching back to the Puritans, moving through the great nineteenth-century expressions of interior landscapes and visions. This is a book I welcome and celebrate.” Jay Parini, Middlebury College Literary criticism of the past thirty years has undercut what the canonizers of the nineteenth and early twentieth centuries saw as the fundamental role of early New England in the development of American literary culture. And yet, a determination in literary circles to topple perceived Ivy League elitism and Protestant cultural creationism overlooks the continuing value, beauty, and even practical utility of a canon still cherished by lay readers around the world. This Manifesto raises questions about how academic specialization and the academic study of New England have affected enthusiasm for reading. Using a range of interpretive practices, including those most often deployed by contemporary academic critics, Elisa New cuts across firmly established subfields, mixing literary exegesis with autobiographical reflection, close reading with cultural history, archival and antiquarian inquiry with experiments in style, and lays bare editorial orthodoxies, raising to question the whole hierarchy of values now governing the study of American and other literatures. Taking New England as a test case for a wider, more accessible set of critical practices, New England Beyond Criticism demands that the domain of literary study be opened further to the tastes of the general reader.
How many times have you heard that creative writing programmes are factories that produce the same kind of writers, isolated from real life? Only by escaping academia can writers be completely free. Universities are profoundly conservative places, designed to favour a certain way of writing-preferably informed by literary theory. Those who reject the creative/ critical discourse of academia are the true rebels, condemned to live (or survive) in a tough literary marketplace. Conformity is on the side of academia, the story goes, and rebellion is on the other side. This book argues against the notion that creative writing programmes are driven by conformity. Instead, it shows that these programmes in the United States and Britain were founded and developed by literary outsiders, who left an enduring mark on their discipline. To this day, creative writing occupies a marginal position in Anglo-American universities. The multiplication of new programmes, accompanied by rising student enrolments, has done nothing to change that positioning. As a discipline, creative writing strives on opposition to the mainstream university, while benefiting from what the university has to offer. Historically, this opposition to scholars was so virulent that it often led to the separation of creative writing and literature departments. The Iowa Writers' Workshop, founded in the 1930s, separated from the English department three decades later—and it still occupies a different building on campus, with little communication between writers and scholars. This model of institutional division is less common in Britain, where the discipline formally emerged in the late 1960s and early 1970s. But even when creative writing is located within literature departments, relationships with scholars remain uneasy. Creative writers and scholars are not, and have never been, natural bedfellows.