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This volume celebrates fifty years of NeMLA’s important presence in the world of academia with a collection of essays that adopt a transnational critical lens. With the present selection, we intend to add our voices to the ongoing debate centered on the renegotiation of space, national, and cultural geographies; to foster both the re-thinking of language(s) and literature(s) not exclusively in English and the study of race, gender, sexuality, and class within and across national boundaries. Most pertinently for this collection, we hope to add meaningful material to produce new theoretical paradigms and to rethink the role and significance of the humanities in today’s world. In this light, 'Transnational Spaces: Celebrating Fifty Years of Literary, Cultural, and Language Intersections at NeMLA' offers a contribution to the study of our present, transnational condition, from the point of view of an organization, the 'Northeast Modern Language Association', that since its inception in 1969, has sought to provide a space of encounter, debate, and open intellectual exchange for all its members as well as for the academe at large. The essays contained in this volume emphasize the interdependency and interrelations engendered by the globalized world in which we live, highlighting the possibility to create new knowledge and forms of understanding across the boundaries of nationhood and region. At the same time, they remind us that the present situation calls for a radical self-examination of a history of systemic racism which continues to produce episodes of police brutality, rationalizes cultural and economic exclusion, and normalizes the incarceration of African Americans and “illegal” immigrants, including children and minorities. In this light, with this volume, we hope to have provided inclusive, egalitarian, and cosmopolitan spaces of encounter, exchange, and interrogation.
Perhaps while reading Shakespeare you've asked yourself, What exactly is Hamlet trying to tell me? Why must he mince words and muse in lyricism and, in short, whack about the shrub? But if the Prince of Denmark had a Twitter account and an iPhone, he could tell his story in real time--and concisely! Hence the genius of Twitterature. Hatched in a dorm room at the brain trust that is the University of Chicago, Twitterature is a hilarious and irreverent re-imagining of the classics as a series of 140-character tweets from the protagonist. Providing a crash course in more than eighty of the world's best-known books, from Homer to Harry Potter, Virgil to Voltaire, Tolstoy to Twilight and Dante to The Da Vinci Code. It's the ultimate Cliffs Notes. Because as great as the classics are, who has time to read those big, long books anymore? Sample tweets: From Hamlet: WTF IS POLONIUS DOING BEHIND THE CURTAIN??? From the Harry Potter series: Oh man big tournament at my school this year!! PSYCHED! I hope nobody dies this year, and every year as if by clockwork. From The Great Gatsby: Gatsby is so emo. Who cries about his girlfriend while eating breakfast...IN THE POOL?
This volume presents interpretive essays utilizing a variety of approaches to honor the 160th anniversary of Oscar Wilde’s birth, celebrating the writer’s genius. This unique collection of scholarship explores a broad spectrum of subjects, including his travels, sexuality, children’s literature, jail writings, novel, poetry, individualism, masks, homosexuality, influence on others, and morality. It offers historical, biographical, psychological and sociological perspectives written by international experts and features a broad spectrum of subjects which will appeal to a range of scholars seeking original and alternative approaches to understanding Oscar Wilde, his aesthetics and his influence in a variety of genres in the twenty-first century. The multiplicity of interest in the writer expands across genres, disciplines, cultures and time. Quintessential Wilde examines his intellectual strength in “His Worldly Place,” analyzes his ingenious thoughts in “His Penetrating Philosophy,” and recounts his enduring place in “His Influential Aestheticism.”
This book will present close readings of three contemporary Arabic novelists - an Egyptian (Gamal Al-Ghitany), an Algerian (Taher Ouettar) and a Touareg Libyan (Ibrahim Al-Koni) - who have all turned to Sufism as a literary strategy aimed at negotiating i
In Reclaiming Difference, Carine Mardorossian examines the novels of four women writers--Jean Rhys (Dominica/UK), Maryse Condé (Guadeloupe/USA), Edwidge Danticat (Haiti/USA), and Julia Alvarez (Dominican Republic/USA)--showing how their writing has radically reformulated the meanings of the national, geographical, sexual, and racial concepts through which postcolonial studies has long been configuring difference. Coming from the anglophone, francophone, and hispanophone Caribbean, these writers all stage and identify with transcultural experiences that undermine the usual classification of literary texts in terms of national and regional literatures, and by doing so they challenge the idea that racial and cultural identities function as stable points of reference in our unstable world. Focusing on the transformations that have taken place in postcolonial studies since the field began to focus on theory, Mardorossian highlights not only how these writers make use of the styles of creolization and hybridity that have dominated Caribbean and postcolonial studies in recent years but also how they distinguish themselves from the movement's leading figures by offering new articulations of the ties that link race and nation to gender and class. She illuminates how these writers extend the notion of hybridity away from racial and cultural differences in isolation from each other to a set of crisscrossing categories that challenge our simpler, normative figurations. For scholars in postcolonial studies, Caribbean studies, literary feminist studies, and studies in comparative literature, Reclaiming Difference represents a new phase in postcolonial studies that calls for a fundamental rethinking of the field's terminology and assumptions.
Many Romans wrote about the belief that an image - a sculpture or painting, as well as a verbal description or a person on stage - is not a representation, but the images pr̀ototype, or that an image incorporates particular aspects of life. Some authors explained these beliefs as incorrect observation or wrong mental processing by the beholder. Others pointed at the excellent craftsmanship of the maker of the image. A third group looked at the supernatural involvement of its prototype, often a god. Together, these discourses on the animation of images bring us to what intellectuals from all over the Roman empire saw as reprehensible or acceptable in beholding images as works of art or objects of worship. Moreover, these discourses touch upon ontological and epistemological problems. The barrier between life and death was explored and also the conditions to obtain knowledge from observation. This book describes these various Roman theories on the animated image.
In recent years, members of legal, law enforcement, media and academic circles have portrayed rape as a special kind of crime distinct from other forms of violence. In Framing the Rape Victim, Carine M. Mardorossian argues that this differential treatment of rape has exacerbated the ghettoizing of sexual violence along gendered lines and has repeatedly led to women’s being accused of triggering, if not causing, rape through immodest behavior, comportment, passivity, or weakness. Contesting the notion that rape is the result of deviant behaviors of victims or perpetrators, Mardorossian argues that rape saturates our culture and defines masculinity’s relation to femininity, both of which are structural positions rather than biologically derived ones. Using diverse examples throughout, Mardorossian draws from Hollywood film and popular culture to contemporary women’s fiction and hospitalized birth emphasizing that the position of dominant masculinity can be occupied by men, women, or institutions, while structural femininity is a position that may define and subordinate men, minorities, and other marginalized groups just as effectively as it does women. Highlighting the legacies of the politically correct debates of the 1990s and the terrorist attacks of 9/11, the book illustrates how the framing of the term “victim” has played a fundamental role in constructing notions of agency that valorize autonomy and support exclusionary, especially masculine, models of American selfhood. The gendering of rape, including by well-meaning, sometimes feminist, voices that claim to have victims’ best interests at heart, ultimately obscures its true role in our culture. Both a critical analysis and a call to action, Framing the Rape Victim shows that rape is not a special interest issue that pertains just to women but a pervasive one that affects our society as a whole.
This book revisits Jean Rhys’s ground-breaking 1966 novel to explore its cultural and artistic influence in the areas of not only literature and literary criticism, but fashion design, visual art, and the theatre as well. Building on symposia that were held in London and New York in 2016 in honour of the novel’s half-century, this collection demonstrates just how timely Rhys’s insights into colonial history, sexual relations, and aesthetics continue to be. The chapters include an extensive interview with novelist Caryl Phillips, who in 2018 published a novel about Rhys’s life, an account of how Wide Sargasso Sea can be read through the lens of the #MeToo Movement, a clothing line inspired by the novel, and new critical directions. As both a celebration and scholarly evaluation, the collection shows how enduring Rhys’s novel is in its continuing literary influence and social commentary.
Presents new critical perspectives on Jean Rhys in relation to modernism, postcolonialism, and theories of affect.Jean Rhys (1890-1979) is the author of five novels and over seventy short stories. She has played a major figure in debates attempting to establish the parameters of postcolonial and particularly Caribbean studies, and although she has long been seen as a modernist writer, she has also been marginalized as one who is not quite in, yet not quite out, either. The 10 newly commissioned essays and introduction collected in this volume demonstrate Jean Rhyss centrality to modernism and to postcolonial literature alike by addressing her stories and novels from the 1920s and 1930s, including Voyage in the Dark, Quartet, After Leaving Mr. Mackenzie, and Good Morning, Midnight, as well as her later bestseller, Wide Sargasso Sea (1966). The volume establishes Rhys as a major author with relevance to a number of different critical discourses, and includes a path-breaking section on affect theory that shows how contemporary interest in Rhys correlates with the recent 'affective turn' in the social sciences and humanities. As this collection shows, strangely haunting and deeply unsettling, Rhyss portraits of dispossessed women living in the early and late twentieth-century continue to trouble easy conceptualisations and critical categories.Key Features:- New and original work on Jean Rhyss fiction and short stories, highlighting key areas of her work.- Contributors area leading scholars on Jean Rhys from the US, the UK, and Australia, including Mary Lou Emery, Elaine Savory, John J. Su, Maroula Joannou, H. Adlai Murdoch, Rishona Zimring, Carine Mardorossian, Patricia Moran, Erica L. Johnson, and Sue Thomas.- Organised around 3 important themes: Rhys and modernism, postcolonial Rhys, and affective RhysPatricia Moran is the author of Word of Mouth: Body/Language in Katherine Mansfield and Virginia Woolf; Virginia Woolf, Jean Rhys, and the Aesthetics of Trauma; and co-editor of Scenes of the Apple: Food and the Female Body in 19th and 20th-Century Womens Writing and The Female Face of Shame. Formerly Professor of English at the University of California, Davis, she is now Lecturer in English at the University of Limerick.Erica L. Johnson is an Associate Professor of English at Pace University in New York. She is the author of Caribbean Ghostwriting (2009) and Home, Maison, Casa: The Politics of Location in Works by Jean Rhys, Marguerite Duras, and Erminia DellOro (2003), and is the co-editor with Patricia Moran of The Female Face of Shame (2013).