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Though central to contemporary debates over identity, politics, and culture, the concept of tradition often remains unexamined. In a series of readings that transgress cultural and disciplinary boundaries, Daniel Cottom subjects this concept to close scrutiny. He calls into question conventional accounts of tradition, with their reliance on standard oppositions between dogma and reason, animality and humanity, community and society, religion and science, and modernity and its predecessors. Tradition, as Cottom envisions it, is a complex of cultural forces that moves, divides, and undoes those it touches; it ravishes, is ravished, and is centrally etched with acts of ravishment. Engaging writers from William Shakespeare to John Ashbery and from Phillis Wheatley to Antonin Artaud, Cottom examines literary history within the contexts of war, rape, and slavery; education, technology, and sexuality; repetition, imitation, stereotypy, and travesty; censorship, grief, and ecstasy. He also evaluates the work of various theorists who address questions of tradition, such as Sigmund Freud, Walter Benjamin, Jacques Derrida, and Adrienne Rich. Cottom draws on works in social and cultural history as well as on literary texts from different eras, nations, and genres. At once using and critiquing contemporary literary and cultural theory, this eloquent book shows why tradition continues to be of compelling interest and importance.
An examination of two influential women writers in the mid-nineteenth century which challenges many common assumptions about the development of the Russian literary tradition
The Argentine writer Jorge Luis Borges is undoubtedly one of the defining voices of our age. Since the Second World War, his work has had an enormous impact on generations of writers, philosophers, and literary theorists. This guide offers a close reading of ten of Borges' greatest short stories, seeking to bring out the logic that has made his work so influential. The main section of the guide offers an analysis of such key terms in Borges' work as "labyrinth" and the "infinite" and analyzes Borges' particular narrative strategies. This guide also sets Borges' work within its wider literary, cultural and intellectual contexts and provides an annotated guide to both scholarly and popular responses to his work to assist further reading.
DIVA contribution to understanding life in Imperial Russia through the work of contemporary women journalists./div
The sites of inspiration documented in this book range from nineteenth century linguistic theory to postmodern strategies of conceptual writing, encompassing well known instances of modernist poetics (Mallarmé, Pound, Olson) alongside obscure but revealing figures like Otto Nebel and Henri-Martin Barzun.
Suppose that, before he is writing fiction, before he is writing drama, before he is writing any of the autonomous, highly polished pieces that make up his life work, Beckett is writing Beckett. What follows from this? In Beckett Writing Beckett, H. Porter Abbott argues that, by the time he had written Waiting for Godot, Beckett's art had crystallized as a life project keyed to the simultaneous action of writing and reading the self. How does such an interpretive shift change the way we see the salient features of Beckett's art: his extraordinary and persistent assaults on narrative, his restless exploration of genres and media, his attempts to exercise autocratic control over performance and publication, his increasingly musical formal structures, his tireless capacity to invent? How, moreover, does this view relate to the contempt for autobiography so pervasive in Beckett's work? In approaching these questions, Abbott seeks to redirect current discussion of such concepts as "the author" and "originality". Arguing on several widely contested fronts in Beckett criticism, including such vexed issues as Beckett's postmodernism, his politics, and his relation to his audience, Abbott develops an interpretive method grounded in the concept of "autographical action". The method allows Abbott to articulate the centrality of the inexhaustible strangeness of Beckett's work, and to do so without robbing that strangeness of its power to surprise.
"Marley was dead, to begin with." Why does the most beloved of Christmas books open with a death? What has death to do with Christmas and New Years, and with Dickens's Christmas books and stories over his entire life? This book starts at the Paris Morgue and takes Dickens through his Christmas experiences from childhood and beyond, his celebrations of the season, and the sorrows that he often reviews in the New Year. Robert L. Patten weaves together Dickens's life, career, writings, journalism, travel, theatrical presentations, and religious convictions to offer a richly designed and entertaining narrative, fulsomely illustrated, of the manifold ways Dickens figures the spirit and traditions of the winter holidays in Victorian England. Both the gothic of ghosts and retribution and what he saw as the grotesque of lower-class enjoyment surface importantly in Dickens's fantasies. This volume discloses many hitherto overlooked connections between Dickens's writings and life and arrives at some surprising conclusions about Dickens's imagination, understanding of the conditions and meaning of Christian life, and the failures of British society to meet the pressing needs of its people. Not only does it address the public reception of these writings; it also tracks the responses and understandings of Dickens's illustrators, friends who found novel ways of telling, and mis-telling, the stories.
The proliferation of Virginia Woolfs in both high and popular culture, she argues, has transformed the writer into a "star" whose image and authority are persistently claimed or challenged in debates about art, politics, gender, the canon, class, feminism, and fashion."--BOOK JACKET.
The most widely practiced and read form of verse in America, “elegies are poems about being left behind,” writes Max Cavitch. American Elegy is the history of a diverse people’s poetic experience of mourning and of mortality’s profound challenge to creative living. By telling this history in political, psychological, and aesthetic terms, American Elegy powerfully reconnects the study of early American poetry to the broadest currents of literary and cultural criticism. Cavitch begins by considering eighteenth-century elegists such as Franklin, Bradstreet, Mather, Wheatley, Freneau, and Annis Stockton, highlighting their defiance of boundaries—between public and private, male and female, rational and sentimental—and demonstrating how closely intertwined the work of mourning and the work of nationalism were in the revolutionary era. He then turns to elegy’s adaptations during the market-driven Jacksonian age, including more obliquely elegiac poems like those of William Cullen Bryant and the popular child elegies of Emerson, Lydia Sigourney, and others. Devoting unprecedented attention to the early African-American elegy, Cavitch discusses poems written by free blacks and slaves, as well as white abolitionists, seeing in them the development of an African-American genealogical imagination. In addition to a major new reading of Whitman’s great elegy for Lincoln, “When Lilacs Last in the Dooryard Bloom’d,” Cavitch takes up less familiar passages from Whitman as well as Melville’s and Lazarus’s poems following Lincoln’s death. American Elegy offers critical and often poignant insights into the place of mourning in American culture. Cavitch examines literary responses to historical events—such as the American Revolution, Native American removal, African-American slavery, and the Civil War—and illuminates the states of loss, hope, desire, and love in American studies today. Max Cavitch is assistant professor of English at the University of Pennsylvania.
This volume brings together essays from distinguished scholars in a variety of disciplines - philosophy, history, literary studies, art history - to explore various ways in which aesthetics, politics and the arts interact with one another. Politics is an elastic concept, covering an oceanic breadth of mechanisms for conducting relations between empowered groups, and these essays offer a range of perspectives, including nations, classes, and gendered subjects, which examine the imbrication of politics with arts. Together they demonstrate the need to counteract the reductionist view of the relationship between politics and the arts which prevails in different ways in both philosophy and critical theory, and suggest that the irreducibility of the aesthetic must prompt us to reconceive the political as it relates to human cultural activity.