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Various factors in late 16th-century England contributed to an environment more hospitable to prose fiction than had existed previously-among them, changes in educational opportunities, socioeconomic structures, literacy rates, and access to European literature. Such cultural alterations inevitably produced changes in modes of literary production. Furthermore, access to the bookstall to a new class of readers altered the structures and subjects writers employed. Within this tumultuous context, the writers of fictional prose narrative negotiated-for themselves and their audience a precarious definition of their identity within the Elizabethan literary world. In Fashioning Authority Constance C. Relihan examines the influence of Elizabethan prose fiction on early modern literary culture, emphasizing the role of the nonaristocratic reader in the reception of literature, the importance of the marketplace in the production and reception of prose texts, and the growth of prose as the dominant mode of narrative presentation. Combining cultural analysis with a concern for narrative structure, Relihan explores six strategies by which the writers and readers of Elizabethan fiction struggled to achieve artistic authority: incorporating poetry into prose texts; using translated material; separating authorial from narrative voice; introducing a sense of place; depicting females; and representing non-European cultures. Relihan argues that Elizabethan fiction's unique position on the borders of literate and literary English culture, that is, its position as what M. M. Bakhtin calls "novelistic discourse," allows it to constitute a rich field for examining the ideological rifts of the period. Taking her primary examples from Barnabe Riche's Farewell to Militarie Profession (1581), but also considering texts by a variety of authors (such as Sidney, Deloney, Lyly, Gascoigne, Lodge, Breton, Greene, Harmon, Nashe, and Painter), Relihan demonstrates that regardless of their specific structural and thematic differences, the various modes of Elizabethan fiction all share a common origin in the upheavals of English culture during the later half of the 16th century. By examining novelistic discourse as a category, Fashioning Authority strengthens our understanding of the nature and history of English fiction even as it broadens our sense of Elizabethan culture. The result is an exploration of how Elizabethan novelistic discourse established the cultural place of its newly literate readers and its generically marginal authors, creating literary comfort in narrative prose for those who failed to find it in verse.
There is a close connection between the clothes we wear and our political expression. In 'Fashioning Africa' an international group of anthropologists, historians and art historians bring rich and diverse perspectives to this fascinating topic.
Written in an accessible and personal style, this innovative study of authority in education examines scenarios of authority in ways that problematize, augment, and redefine prevalent ideas of how it works. Usually seen as a thing that people have, the author suggests that authority should be understood instead as a relation that happens between people, which gets enacted in circuits where each participant has a role to play; those circuits can include teachers, students, the books they read, as well as former teachers and former students. Drawing on ideas from psychoanalysis, hermeneutics, philosophy of language, and the work of Jacques Derrida and Paulo Freire, the book offers a useful new understanding of authority in education.
Hosting the Monster responds to the call of the monstrous with, not rejection, but invitation. Positing the monster as that which defies classification, the essays in this collection are an ongoing engagement with that which lies outside of established boundaries. With chapters ranging from the monstrous mother or the deformed child to subjectivity in transition, this volume is not only of interest to film and gender scholars and literary and cultural theorists but also students of popular culture or horror. Its wide appeal stems from its invitation both to entertain the monster and to widen the call to and the listening for the monsters that have not yet, and perhaps must not yet, come calling back. This sense of hospitality and non-hostility is one guiding principle of this collection, suggesting that the ability to survey and research the otherwise may reveal more about the subjectivity of the self through the wisdom of the other, however monstrous the manifestation.
An aesthetic of unoriginality shaped literary style and reader taste for decades of the nineteenth century. While critics in the twentieth century and beyond have upheld originality and innovation as essential characteristics of literary achievement, they were not features particularly prized by earlier American audiences, Claudia Stokes contends. On the contrary, readers were taught to value familiarity, traditionalism, and regularity. Literary originality was often seen as a mark of vulgar sensationalism and poor quality. In Old Style Stokes offers the first dedicated study of a forgotten nineteenth-century aesthetic, explicating the forms, practices, conventions, and uses of unoriginality. She focuses in particular on the second quarter of the century, when improvements in printing and distribution caused literary markets to become flooded with new material, and longstanding reading practices came under threat. As readers began to prefer novelty to traditional forms, advocates openly extolled unoriginality in an effort to preserve the old literary ways. Old Style examines this era of significant literary change, during which a once-dominant aesthetic started to give way to modern preferences. If writing in the old style came to be associated with elite conservatism—a linkage that contributed to its decline in the twentieth century—it also, paradoxically provided marginalized writers—people of color, white women, and members of the working class—the literary credentials they needed to enter print. Writing in the old style could affirm an aspiring author's training, command of convention, and respectability. In dismissing unoriginality as the literary purview of the untalented or unambitious, Stokes cautions, we risk overlooking something of vital importance to generations of American writers and readers.
In 2005, British supermodel Kate Moss went to Glastonbury with her then-boyfriend, indie rocker Pete Doherty. Their unwashed appearance captured widespread attention, propelling the British indie music scene and its signature look-slender bodies clad in skinny jeans-to the center of popular fashion. Using this fashionable watershed as a launching point, Fashioning Indie narrates indie's evolution: from a 1980s British music subculture into a 21st-century international fashion phenomenon. It explores the lucrative transformation of indie style, first into high concept menswear and later into “festival fashion”-a womenswear phenomenon that remade what indie looked like and provided a launching point to reimagine who the ideal subject of indie could be. Fashioning Indie is essential reading for academic and popular audiences, offering an original account of what happens when a subculture is incorporated into the commercial fashion system. As the music and fashions of festivals face increasing scrutiny in debates about diversity and inclusion, and the transformations of indie style coincide with the global expansion of the second-hand retail sector, the book offers also essential insights into the broader culture of popular fashion in the 21st century and the values that inform it.
"The author formulates an anatomy of interpretation through which we can understand the many different forms that the act of interpretation takes. For Iser, there are several different genres of interpretation, all of which are acts of translation designed to transpose something into something else. Obvious examples involve canonical texts, and here Iser explores, for example, the Rabbinical exegesis of the Torah and Dr. Johnson's reading of Shakespeare. But what happens when the matter that one seeks to interpret consists not of a text but of a welter of fragments, as in the story of history, or is something hidden, as in the practice of psychoanalysis, or is as complex as a culture or a system? He concludes that if interpretation is a form of translation, then it is performative and will always depend on what it seeks to translate rather than on some absolute concept of truth." (Midwest).
What is a self? Greenblatt argues that the 16th century saw the awakening of modern self-consciousness, the ability to fashion an identity out of the culture and politics of one’s society. In a series of brilliant readings, Greenblatt shows how identity is constructed in the work of Shakespeare, Marlowe, Spenser and other Renaissance writers. A classic piece of literary criticism, and the origins of the New Historicist school of thought, Renaissance Self-Fashioning remains a critical and challenging text for readers of Renaissance literature.
Approaching Jonathan Edwards offers a new theoretical approach to the study of Edwards, with an emphasis on his writing activity as the key strategy in shaping his legacy. This book analyses the ways in which Jonathan Edwards' intense personal piety and deep experience of divine sovereignty drove an introverted intellectual along a course that would eventually develop into a mature and respected public intellectual.