Between 1957 and 1961, W. E. B. Du Bois wrote a lengthy work of historical fiction, a trilogy collectively titled The Black Flame. Through the lenses of four American families, the narrative offers an illuminating glimpse into the American, political drama of the late 19th and early 20th centuries, focusing on the degree to which “the negro problem” featured in important decisions and events. Reiterating ideas found in his other works—like Black Reconstruction —the narrative foregrounds the gravity (...) of the “Negro Problem” in the formation and constitution of American culture and political institutions.While this paper will examine a few of the specific arguments that emerge from The Black... (shrink)

While I appreciate Annette Kolodny's attempt to clarify the aims of feminist criticism, I would like to correct a historical misconception in her recent article, "Some Notes on Defining A 'Feminist Literary Criticism.'" When Kolodny comes to defining a feminist criticism, near the end of the essay, she advocates applying to individual works, without preconceived conclusions, "rigorous methods for analyzing style and image.” . . . Kolodny implies that Hawthorne wrongly condemned domestic novels without having read them and that (...) once he began reading this body of fiction he reversed his views—in short, that his initial response was unthoughtful and, in current jargon, sexist. Second, Kolodny implies that the modern reader will find the domestic novels of the 1850s as fascinating as Hawthorne found Ruth Hall. Beverly Voloshin is a teaching associate at the University of California, Berkeley. Her current area of study is mid-nineteenth-century American domestic fiction. (shrink)

I ask whether and when historical inaccuracy in a work of art constitutes an aesthetic flaw. I first consider a few replies derived from others: conceptual impossibility, import-export inconsistency, failure of reference, and imaginative resistance. I argue that while there is a grain of truth to some of these proposals, none of them ultimately succeeds. I proceed to offer an alternative account on which the aesthetic demerits of historical inaccuracies stem from a violation of the conversational contract between (...) author and audience. The key question is what that contract implies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SENECA FALLS INHERITANCE: DISENTANGLING WOMEN, LEGISLATION AND VIOLENCE IN MONFREDO'S HISTORICAL CRIME FICTION Rosemary Erickson Johnsen National Coalition ofIndependent Scholars That men were not prevented by courts or clergy from mistreating their wives meant that, to society's institutions, women had no value. A man could be jailed, even hanged, for stealing another man's horse, but not even reproached for beating his wife. (Miriam Grace Monfredo, Through a Gold (...) Eagle) Miriam Grace Monfredo's feminist genre fiction, her "historymystery " series featuring nineteenth-century librarian Glynis Tryon, offers an opportunity to find a way ofreading literary texts that is not only feminist, but also Girardian. Girard's work provides two clear ways to construct feminist readings directly, without the mediation of overtly feminist theory. First ofthese is Girard's respect for the "quasi-theoretical" potential of literary texts, especially some of those which attend to apparently trivial matters. In Deceit, Desire and the Novel, Girard argues that (male) novelists offer insights unavailable elsewhere, including those scientific fields that claim to know more than everyone else. In its valuing of questions about snobbism, for example, Deceit, Desire and the Novel offers a woman-friendly model. The (male) novelist's question about snobbism is "too frivolous" for (men of) science, but Girard argues that "in his probe of snobbism the novelist is asking himself in his own way just what Rosemary Erickson Johnsen59 might be the hidden springs that make the social mechanism tick" (220). While I regret the fact that Girard's examples and language often ignore women, I believe his conviction that attention to matters socially coded as superficial and frivolous can produce great insight is one feminist critics can appreciate. The second Girardian tool feminists can rely upon is the method of reading texts of persecution described in The Scapegoat. Girard suggests how we might read texts ofpersecution written by naive persecutors in ways that identify with the persecuted and gather the information unintentionally supplied by the authors: "I call those persecutors naive who are still convinced that they are right and who are not so mistrustful as to cover up or censor the fundamental characteristics of their persecution. Such characteristics are either clearly apparent in the text and are directly revealing or they remain hidden and reveal indirectly" (8). Monfredo's crime novels, set in the mid-nineteenth century and focusing on such disenfranchised groups of citizens as women, slaves, Native Americans, and free African-Americans, depend for their verisimilitude on her ability to read historical sources and literary predecessors in just such a way. Accuracy requires that Monfredo's works be categorized as feminist historical crime novels, however awkward such a lengthy description may be. Her novels observe the principles not only of both genres—historical fiction and detective fiction—but also the political position offeminism, and they meet these multiple demands with considerable skill. Furthermore, resolution in crime fiction depends upon the law; working within that tradition, Monfredo is called upon to seek solutions within the system, to look for justice as the result ofa proper functioning ofthe legal and social systems. Information gathered, whether by the official representatives ofthe law or by amateurs, is turned over to the authorities. While her novels clearly respect that tradition, they also point out some limits to the judicial system's ability to contain violence. Girard's model ofits functioning, as described in Violence and the Sacred, depends upon an equality that whole segments of the society Monfredo is depicting do not in fact enjoy: "The judicial authority is beholden to no one. It is thus at the disposal ofeveryone" (23). Ifwomen cannot own property, enter into contracts or sit on juries, in what sense is the law at their disposal? Monfredo's exploration ofthis question takes its place alongside Girard's explanation of the legal system's proper functioning; ifhis theory reveals how it works when all are enfranchised, her fiction suggests some ofthe consequences that result from the existence of disenfranchised subjects. 60'Seneca Falls Inheritance' Our Seneca Falls Inheritance In her first book, Seneca Falls Inheritance (1992), Monfredo offers a theory for the reduction of violence against women: provide women with complete legal equality. The... (shrink)

Survey of the reception history of E.L. Doctorow, the controversial American author.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:(P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. by Stephanie Peebles TaveraEtta M. MaddenStephanie Peebles Tavera. (P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. Edinburgh: Edinburgh University Press, 2022. Hardback, xii + 220 pp. ISBN 978-1-4744-9319-2.Utopian Studies readers first saw Stephanie Peebles Tavera’s work in print in her 2018 essay on reproductive health in Charlotte Perkins Gilman’s Herland. More recently, (...) in (P)rescription Narratives, she gives readers a view of the much broader historical scope of her scholarship in literary and cultural studies. Tavera’s analysis of what she labels “feminist medical fiction” considers not only novels and short stories but also literary reviews, dramas, and documentary films, many of which will be unfamiliar to readers of utopian and dystopian literature. Yet the book contextualizes the ways in which these works capture the “utopian possibilities” of women writers who pushed for breaking the boundaries of the dystopian strictures of embodied life. The literary works “rescript” what had been prescribed by others as “normalized behavior,” from the latter-nineteenth century through the Progressive Era (5, 37). As Tavera illustrates through her detailed analysis, these women’s narratives provide “interventions that... interrupt the dissemination of false [End Page 612] narratives of the female body” and “alter the course of cultural development toward greater inclusivity” (5).To establish the temporal boundaries for the project, Tavera emphasizes the Comstock Law, established in 1873, and the death of its author Anthony Comstock in 1915. While Comstock’s work often has been understood as restricting pornography, she explains the Comstock Law as more than merely that. Comstock sought to control what he and others saw as sexual deviation, which included birth control in any form. Tavera also bookends the project with lawsuits associated with Victoria Woodhull and Margaret Sanger, both women who advocated for abortion and birth control as means of allowing women to avoid the strictures over their bodies. Additionally, she explains, Comstock’s racism caused him to completely overlook Black women, ironically allowing a space in which Black women’s feminist medical fiction especially rescripts “normalized behavior” (37)—a topic she pursues in two parts of the book.The book follows a roughly chronological path as it examines four topics related to women’s health, brilliantly organized into “(p)rescriptions,” indicated by Rx, rather than chapters with numbers. Rx1, “Crip Medicine,” illustrates how authors such as Charlotte Perkins Gilman pointed to the socially constructed status of “hysteria” in a patriarchal culture that saw women as deviant by nature. Instead, these authors advocated for a more holistic examination of women’s health, impacted by the environments in which they lived. Drawing from Lyman Tower Sargent’s widely accepted view of utopianism as dreaming of a place “considerably better than the society in which the author lived,” she underscores “the utopian impulse underlies much of the work of feminist medical fiction” (39). In particular, writers of feminist medical fiction were “driven by failure.”Perhaps most familiar to illustrate this point is Gilman’s work, such as “The Yellow Wallpaper,” which illustrated how the culture failed certain characters. The narrator of that story suffers postpartum depression and is made worse by Dr. S. Weir Mitchell’s rest cure. Consequently, Gilman proceeded to write other works, such as Moving the Mountain (1911) and then Herland (1915), which push readers to envision “alternative societies” without such destructive patriarchal medical practices (39). But Tavera also explains how Louisa May Alcott’s Eight Cousins, or the Aunt-Hill (1875) critiques contemporary culture by providing a “domestic utopia” in the female domain of Aunt-Hill, wherein the male Dr. Alec Campbell demonstrates “a better way... of caring for the female body” (55). And another key example is Rebecca Harding [End Page 613] Davis’s Kitty’s Choice: A Story of Berrytown (1875). Berrytown is described as “the Utopia in actual laths, orchards, and bushel-measures of the advance guard of the reform party in the United States” (qtd. in Tavera 55). Through its two physicians, Dr. Muller and Dr. McCall, who represent homeopathic and allopathic practitioners, readers see that the society... (shrink)

In Alice Walker’s vignette “The Flowers,” a young black girl’s walk in the woods is interrupted when she treads “smack” into the skull of a lynched man. As her name predicates, Myop’s age and innocence obstruct her from seeing deeply into the full implications of the scene, while the more worldly reader is jarred and confronted with a whole history of racial violence and slavery. The skeleton, its teeth cracked and broken, is a temporal irruption, a Gothic “smack” that shatters (...) the transience of the pastoral scene with the intrusion of a deeper past from which dead matter/material de-composes the story’s present with the violent matter/issue of racism. Walker’s story is representative of an important trope in fiction, where the pastoral dead speak through the details of their remains, and the temporal fabric of text is disrupted by the very substance of death. Against the backdrops of Terry Gifford’s post-pastoral and Fred Botting’s Gothic understanding of the literary corpse as “negative[ly] sublime,” this essay explores the fictional dead as matter unfettered by genre, consistently signifying beyond their own inanimate silences, revealing suppressed and unpalatable themes of racial and sexual violence, child abuse and cannibalistic consumerism. Along with Walker’s story, this study considers these ideas through new readings of Stephen King’s novella The Body, Raymond Carver’s story “So Much Water So Close to Home,” and The Road by Cormac McCarthy. While these writers may form an unlikely grouping in terms of style, each uses pastoral remains as significant material, deploying the dead as Gothic entities that force the reader to confront America’s darkest social and historical matters. (shrink)

Justus Buchler’s 1966 Metaphysics of Natural Complexes seems so unique as to be sui generis. In it he declares that everything discriminable in any way is a “natural complex,” including every fact, substance, particular, process, universal, experience, property, mind, etc., even the concept of a natural complex itself. Every natural complex obtains in multiple orders of relations to other complexes, so each complex has indefinitely many “integrities,” each its function in some order. No complex is any more or less real (...) than any other; witches and whales are equally real, one in an order of historical fiction, another in the order of zoology. The totality of complexes is not a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 96-112 [Access article in PDF] A Theory of Fiction A. P. Martinich What is the chief linguistic difference between fiction and nonfiction? My answer, in brief, is that in fiction the Supermaxim of Quality, "Do not participate in a speech act unless you can satisfy all the conditions for its nondefective performance," is suspended. My thesis depends on a modified version of H. P. (...) Grice's theory of conversation. In saying that the Supermaxim of Quality is suspended in fiction, I do not mean that no speech acts are performed. On the contrary, many are; some of them are the same as those that would be performed in a nonfictional context. Sometimes ordinary statements and requests are made, and questions are asked in fiction, as we shall see in section II. However, many of the speech acts performed in fiction are made possible by the fact that the Supermaxim is suspended, and thus the normal consequences of performing and evaluating the speech acts are not in force. This will also be explained in section II.On the one hand, since my theory depends on a more general theory of language, those who accept the general theory will have further evidence of its power, while some of those who do not accept it may be more inclined to if they see that it smoothly accounts for fiction. On the other hand, those who do not accept the more general theory may be reluctant to see any merit in my theory. In addition, because of the almost universal acceptance among Anglo-American philosophers of the Axiom of Existence, which holds that everything referred to must exist, my rejection of that axiom may disincline some philosophers to accept the present theory of fiction. I discuss the axiom in section III. [End Page 96] I Before presenting my theory, there are two preliminary matters to discuss. The first involves the distinction between talk-in-fiction, talk-about-fiction, and talk-about-reality.Talk-in-fiction is the talk or writing that constitutes fictional works, e.g., the sentences in Ordinary People. But the preceding sentence is an example of talk about fiction: I said something about the fictional work Ordinary People. Whenever a philosopher discusses fiction, he uses talk about fiction to explain talk in fiction. Some philosophers give the impression that the terms talk-in-fiction and talk-about-fiction are mutually exclusive. But they are not. When one novel talks about another, talk-in-fiction is also talk-about-fiction. In Judith Guest's Ordinary People, the narrator says, "He had thought about being a Soldier of Fortune, after reading The Three Musketeers."The terms talk-in-fiction and talk-about-reality are also not mutually exclusive and hence do not form a proper distinction. Many novels, including historical ones, talk about reality. The first sentence of Gore Vidal's Burr is "Shortly before midnight, July 1, 1833, Colonel Aaron Burr, aged seventy-seven, married Eliza Jumel, born Bowen...." What Vidal has written is true and intended to be true about the real world. In the "Afterword," he talks about his "meticulous" research and notes that he "tried to keep to the known facts." Thus, if he were wrong about Burr's late marriage or about many other things, he would be liable to criticism, even though he is not required to make every statement in the novel historically accurate.Historical novels are not the only ones that talk about reality. The first sentence of Leo Tolstoy's Anna Karenina, "Happy families are all happy in the same way, unhappy families unhappy in their separate, different ways," is a real statement made in fiction about real families as much as fictional ones. 1 Tolstoy is not pretending to make the statement he would be making if he were writing an essay or sociological treatise. He is simply making a statement about happy and unhappy families. We learn or, at least, are induced to think about a feature of the real world.Talk-in-fiction is sometimes referred to as "fictional talk," as if it... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 295-313 [Access article in PDF] The Ecology of Victorian Fiction Joseph Carroll I In the past ten years or so, ecological literary criticism--that is, criticism concentrating on the relationship between literature and the natural environment--has become one of the fastest-growing areas in literary study. Ecocritics now have their own professional association, their own academic journal, and an impressive bibliography of scholarly studies. Ecocritical scholars (...) divide their attention between "nature writing" and ecological themes within all literature. In other words, some scholars write on Thoreau, John Muir, Aldo Leopold, and Annie Dillard; others write on topics such as the representation of nature in romantic poetry, the American West as a symbol, metaphors of landscape, or Dante's Inferno as a polluted ecosystem. Ecocritics have a distinct subject matter, and they share in a certain broad set of attitudes, values, and public policy concerns, but they do not yet have a firmly established framework of commonly accepted theoretical principles. In the absence of any overarching theory, ecocritics have usually sought to incorporate their ecological subject matter within other, already established theoretical schools: feminism, Bakhtin's dialogism, Lacanian psychoanalysis, or English romantic and American transcendentalist, idealist philosophy. Most commonly, ecocritics have affiliated themselves with the standard contemporary blend of Foucauldian ideological criticism--a blend that is vaguely Marxist and Freudian, generally radical, and strongly tinctured with deconstructive irrationalism and textualism. 1Given its specialized themes and topics and its ready affiliation with the standard theoretical blend, ecocriticism might seem little more than a special topic area within the general field of contemporary [End Page 295] literary study. But ecocritics do not see their approach that way. They share in a feeling of being at the forefront of critical response to an urgent practical problem of world-historical magnitude: the prospect of irreversible environmental devastation. They thus have a strong sense of a political mission, and they often feel that the urgency of their environmental concerns should sanction realigning the canon to give much greater prominence to nature writers and to the study of ecological themes. In their view, the natural world claims a special status as the ultimate ground and frame of all existence. It is an object of peculiar veneration and of primary experiential importance.The special conceptual status of ecology as a theme and a topic necessarily raises a question about its theoretical import. If the subject of ecocriticism is the relation of literature and the natural world, and if this relation is more important and more elemental than any other concern, does it not follow that ecocriticism should identify itself as a matrix for all literary study? To put the question operationally, in what way could ecology, as a subject matter and a concept, generate a theory of literature? Since the relation between organisms and natural environments is a necessary precondition of all experience, one could reasonably argue that the special topic of ecocriticism is more elemental than the topics of feminism, Marxism, or any other form of political criticism, and that the basic physical conditions of organic life take conceptual precedence over semiotics and theories of "culture" and "discourse."I shall argue that ecology cannot by itself generate a theory of literature or serve as the basis for a theory of literature, but I shall also argue that responsiveness to the sense of place is an elemental component of the evolved human psyche and that it thus can and should be integrated into a Darwinian literary theory. E. O. Wilson's notion of "biophilia" provides a Darwinian alternative to the ecological transcendentalism of "deep ecology," and the evolutionary epistemology of Konrad Lorenz provides a Darwinian rationale for locating the human psyche within its physical world. In constructing a bridge between the evolutionary epistemology of Lorenz and the idea of place within verbal narrative, I shall make use of a new branch of Darwinian aesthetics, Joseph Anderson's "ecological" version of "cognitive film theory."In order to illustrate the ways in which setting can be integrated into a Darwinian literary criticism, in the latter part of the essay... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Indian Science Fiction: Patterns, History and Hybridity by Suparno BanerjeeBarnita BagchiSuparno Banerjee. Indian Science Fiction: Patterns, History and Hybridity. Cardiff: University of Wales Press, 2020. xiii + 256 pp. E-book, ISBN 9781786836670.Suparno Banerjee’s monograph examines science fiction (henceforth SF) from India, a country that has a rich and fascinating tradition of SF. This is a book that will be of interest and value to scholars and students in (...) higher education of utopia, dystopia, and speculative fiction, and to readers across disciplines interested in SF as a mode. It is quite clear today that Darko Suvin’s canonical definition of SF as cognitive estrangement, an interplay between the familiar and the strange, and its emphasis on the novum that is created in SF, has been enriched with further attention to context, including postcolonial contexts. Whose familiarity in cognition are we speaking about, and what happens when contexts are not necessarily hegemonic Anglo-American or Western ones? Indeed, even in Western contexts, science is not a given, but an element that always has political, historical, and ideological overtones. The novum, too, as with the term utopia, is moored in the contexts of the text.Banerjee’s book is one among several excellent monographs on Indian SF that have been published in the 2020s: Sami Ahmad Khan’s Star Warriors of the Modern Raj: Materiality, Mythology and Technology of Indian Science Fiction (2021) and Upamanyu Pablo Mukherjee’s Final Frontiers: Science Fiction and Techno-Science in Non-Aligned India (2020) come to mind. Khan adopts a refreshing fan’s guide to Indian SF register in his monograph, discussing mythology, materiality, ideology, and technology, and he coins the abbreviation TransMIT to capture his approach. Mukherjee’s book examines how Indian SF syncs with or questions the technological and scientific paradigms of India under Nehru and the Non-Aligned Movement; arguing that Indian SF needs to be seen as semiperipheral, the book also applies concepts from energy humanities [End Page 586] to Indian SF in an arresting way. Suparno Banerjee’s monograph is a solidly grounded work in its clearly explained choice of corpus, and a methodology that elicits particularly generative insights in a number of areas, including the epistemological status of science in Indian SF, the importance of SF written in bhasha or non-English Indian languages, the interplay between past and future in Indian SF, analysis of how Indian SF imaginatively represents the Other, and attention to Indian women writers of SF.Banerjee offers a lucid and useful chronology of Indian SF in four historical periods: 1835–1905, 1905–47, 1947–95, and 1995–2019. The period from 1835 to 1905 offers the first specimens of Indian SF, primarily in the form of future histories that question colonialism, in the utopian mode, and adventure tales and stories with scientific and technological elements. The establishment of a British education system, starting in the 1820s, gave an impetus to the birth of Indian SF. Rokeya Sakhawat Hossain’s “Sultana’s Dream” was published in 1905, a year that heralds the second period lasting until Indian independence. In this period, SF starts appearing not just in the English, Bengali, and Hindi languages, as in the first period, but also in a number of other Indian languages, such as Assamese, Marathi, and Tamil. Children’s and youth magazines develop from the 1920s, spaces where science writing and SF both appear. Nationalist, anticolonial stances emerge, challenging western hegemony, in the 1940s. In the early post-Independence period, the nationalistic elements become even stronger, and SF interacts quite strongly with older forms of fantastic writing such as myths, fairytales, and ghost stories. This third period, Banerjee argues, is the golden age of bhasha SF. From the 1990s English-language SF again becomes very prominent in India and its diaspora, though SF in bhashas continues to flourish.Banerjee examines fiction not just from post-Independence India, but also from colonial British India, and diasporic Indian writing. SF written primarily in Bengali, English, Hindi, and Marathi is examined and, when possible, the book also brings into its ambit of analysis SF written in the languages Assamese, Tamil, Telugu, and Kannada. Reflexivity about the corpus of... (shrink)

Jennifer Wagner-Lawlor’s Postmodern Utopias and Feminist Fictions represents not only a significant contribution in utopian studies; it is also a major intervention in contemporary literary studies and global cultural studies more generally. Each of the book’s chapters is structured around a specific set of formal and generic questions, exploring in great detail and with a tremendous amount of insight recent feminist revisionings of older genres, including the bildungsroman, the novel of art, nonlinear histories, American historical novels, and finally, (...) in an extraordinary turn, the works of contemporary Arab feminist writers, which, Wagner-Lawlor shows, “directly address the nature of the work left to do, as.. (shrink)

I have three aims in this essay. I want to offer an example of an interdisciplinary historical inquiry combining literary criticism with the relatively new field of critical legal studies. I intend to use this historical inquiry to argue that the ambiguity of literary texts might better be understood in terms of an era’s social contradictions rather than in terms of the inherent qualities of literary language or rhetoric and, conversely, that a text’s ambiguity can help us expose (...) the contradictions masked by an era’s dominant ideology. I try to prove my assertion by applying my method to Herman Melville’s three most famous short works—“Benito Cereno,” “Bartleby, the Scrivener,” and Bill Budd, Sailor—works dealing with the law and lawyers and widely acknowledged as ambiguous.1 I will base my critical inquiry into these stories on Melville’s relationship with his father-in-law, Lemuel Shaw, who, while sitting as the chief justice of the Supreme Judicial Court of Massachusetts from 1830 to 1860, wrote some of the most important opinions in what Roscoe Pound has called “the formative era of American law.”2Before I get started, I should clarify what this study does not entail. By using Shaw and his legal decisions in conjunction with Melville’s fiction, I am not conducting a positivistic influence study. My method will not depend on the positivist assumption that Shaw’s legal opinions can be used to illuminate Melville’s texts only when his direct knowledge of Shaw’s opinions can be proved. Nor will I limit myself to a traditional psychoanalytic reading: my emphasis is on political and social issues, and too often these issues are deflected by translating them into psychological ones. At the same time, I recognize that critics concerned with political and social issues too often neglect questions raised by a writer’s individual situation. I compare Shaw to Melville not to reduce Melville’s politics to psychology but to prevent a political study from neglecting the political implications of psychology, to remind us—as the title of Fredric Jameson’s book The Political Unconscious reminds us—that psychological questions always have political implications. 1. See Herman Melville, “Benito Cereno,” “Bartleby,” and Billy Budd, Sailor, “Billy Budd, Sailor” and Other Stories, ed. Harold Beaver ; all further references to these works will be included in the text.2. See Roscoe Pound, The Formative Era of American Law . For discussions of Melville and Lemuel Shaw, see Charles Roberts Anderson, Melville in the South Seas, Columbia University Studies in English and Comparative Literature, no. 138 , pp. 432-33; Charles H. Foster, “Something in Emblems: A Reinterpretation of Moby-Dick,” New England Quarterly 34 : 3-35; Robert L. Gale, “Bartleby—Melville’s Father-in-Law,” Annali sezione Germanica, Istituto Universitario Orientale di Napoli 5 : 57-72; Keith Huntress, “ ‘Guinea” of White-Jacket and Chief Justice Shaw,” American Literature 43 : 639-41; Carolyn L. Karcher, Shadow over the Promised Land: Slavery, Race and Violence in Melville’s America , pp. 9-11 and 40; John Stark, “Melville, Lemuel Shaw, and ‘Bartleby,’ “ in Bartleby, the Inscrutable: A Collection of Comentary on Herman Melville’s Tale “Bartleby the Scrivener,” ed. M. Thomas Inge , all further references to this work, abbreviated JA, will be included in the text. Brook Thomas teaches English and American literature at the University of Hawaii, Manoa. He is the author of James Joyce’s “Ulysses”: A Book of Many Happy Returns and is at work on a study of the relations between law and literature in antebellum America. (shrink)

In this article I present two theories of historical inquiry, which I characterize as conservative and pragmatic. I argue that these two views of history, John Dewey’s and Hans Georg Gadamer’s, provide an excluded middle between the extremes of positivism and relativism. They are pragmatic insofar as they accept the anti-foundationalist critique of positivism; they are conservative insofar as they refuse to reduce historical inquiry to mere discourse or narrative. Both focus on the situatedness of historical inquiry, (...) paying special attention to the culturally emergent conceptual schemes and prejudices of the historian, but they constrain historical inquiry by providing an improved understanding of the relationship between the problems which give rise to our inquiries and the tools which help resolve them. Dewey, in the key of naturalism, and Gadamer, in the key of phenomenology, provide conservative and pragmatic philosophies of historical inquiry, which refuse to pose as science, but do not fall into narrative fiction. Additionally, their approaches to historical inquiry share a concern for the practical application of the study of history. In this concern for application, both Dewey and Gadamer provide a theory of historical inquiry consonant with a conservative and pragmatic judicial theory, which rejects both the formalism of legal positivism and the model of unconstrained judicial radicalism. (shrink)

History-based trade books, such as biographies, narrative non-fiction, and expository texts, are essential secondary sources in social studies classrooms. Research, though, indicates a preponderance of misrepresentations in trade books’ depictions of historical eras and figures. We examined trade books’ historical representation of John Fitzgerald Kennedy, an iconic American president. The data sample featured biographies targeting various grade-ranges and published in different eras. Including books targeting early grade, middle grade, and high school students enabled comparisons of historical (...) representation within and between different grade-ranges. Incorporating texts published in different eras allowed for consideration of how Kennedy's historical representation changed over time. Mixed methods content analysis—reliant on both open and axial-coding—yielded important findings about how children's and young adult authors depicted Kennedy's family history, particularly during World War II, privileged social position, Catholicism, wife, health, tensions during his presidency, and his assassination and subsequent conspiracy theories. Trade books’ representations appeared to be shaped more by date-of-publication than intended age of the reader. Identified historical misrepresentations included presentism, omission, exceptionalism, and heroification. Significance for teachers and researchers is articulated and practical classroom suggestions are provided. (shrink)

"Perfect Worlds offers an extensive historical analysis of utopian narratives in the Chinese and Euro-American traditions.

CATEGORY: Philosophy play; historical fiction; comedy; social criticism. -/- STORYLINE: Katherine, a neurotic American lawyer, meets Christianus for a philosophy session at The Late Victorian coffee shop in London, where they also meet Wendy the waitress and Baldy the player. Will Katherine be able to overcome her deep depression by adopting some of Christianus’s satisfactionist ideas? Or will she stay unsatisfied and unhappy by stubbornly sticking to her own neti-neti nothingness philosophy? And what roles do Baldy, Wendy, and (...) the Okefenokee Man-Monster have in this connexion? -/- TOPICS: In the course of this philosophy play, Katherine and Christianus discuss many things: friendship, a Renoir painting, global warming, elephant conservation, freemasons, Prince of Wales and his tiger-hunting experience in Nepal, Victorian Chartism and a Kennington Common daguerreotype, a Mortality Proof, and, last but not least, Baldy, Wendy, and the gory plot of the Okefenokee Man-Monster. -/- NOTES: This work features elaborate footnotes and comments (including full bibliographical references) by the author, to enhance the reader's experience of the play and its philosophizing characters. (shrink)

Categorical names such as “The English Novel,” “The Modern American Novel,” and “American Literature” often turn up in catalogs as titles of college courses, and we know from them pretty much what to expect. They also have standing in critical discourse, along with allied terms unlikely to serve as course titles: “good writing,” “great literature,” “serious fiction,” “literature” itself. The awareness has grown in recent years that such concepts pose problems, even though we use them with easy enough (...) comprehension when we talk or write to others who share our cultural matrix.Lately, critics like Raymond Williams have been reminding us that the categories change over time and that at any given moment categories embody complex social relations and a continuing historical process. That process deeply invests all terms with value: since not everyone’s values are the same, the negotiating of such concepts is, among other things, a struggle for dominance—whether between adults and the young, professors and their students, one class and another, or men and women. We don’t usually notice the power or the conflict, except when some previously weak or silent group seeks a share of the power: for example, when, in the 1960s, American blacks and their supporters insisted that black literature be included in school and college curricula, or when they openly challenged the candidacy of William Styron’s Confessions of Nat Turner for inclusion in some eventual canon.1 But the gradual firming up of concepts like, say, postwar American fiction is always a contest for cultural hegemony, even if in our society if is often muted—carried on behind the scenes or in the seemingly neutral marketplace. 1. See John Henrik Clarke, ed., William Styron’s Nat Turner: Ten Black Writers Respond . Richard Ohmann is professor of English at Wesleyan University. He is the author of English in America and is presently working on studies in mass culture. (shrink)

It was a common practice of the Chinese official historiographers to employ pseudo-historical, semi-fictional source materials alongside the factual, ascertainable data in their narratives for prescribed political or didactic purposes despite their commitment to the time-honored principles of truth and objectivity in the Confucian-oriented traditional historiography. The intrusion of these non-historical elements in the imperial historical records illustrates, therefore, the adaptability of the source materials representing the popular tradition of the masses for the uses of the great (...) tradition, and the propensity of the reciprocal exchanges between the expressions of the Confucian literati and the less cultured populace in historical compositions. Drawing on a textual analysis of the T'ai-tsu shih-lu, the reign chronicle of the Ming founder Chu Yüan-chang, who rose from a humble peasant to the imperial throne in 1368, this essay examines the historical circumstances and historiographical devices by which the factual records were commingled with the non-historical materials in the accounts of the dynasty founding. It shows how the historiographers synthesized the pseudo-historical expressions in the popular tradition with the deliberately fabricated falsehoods of their own doing to conjure up an inflated portrait of the Ming founder, transforming him from an illiterate, beggar mendicant monk and rebel leader into the topoi of a righteous hero, dynasty founder and exemplar ruler in traditional official historiography. It also shows that apart from the historiographers' penchant for conformity to the established conventions, the exaggerated portrait of the Ming founder in the T'ai-tsu shih-lu was a product of a historiographical revision undertaken on order of the third emperor Yung-lo, fourth son of T'ai-tsu, aiming at legitimizing his usurpation of the throne from his nephew the imperial successor Chien-wen in a palace rebellion of 1402. Lastly, it shows how the early Ming revision of the records of the rise of T'ai-tsu inspired a cycle of bizarre legends about the early years of the dynasty founding in later official and private writings, and how a case study of such historiographical process may add to our understanding of the continuous interactions between the expressions of the élite and mass heritages in the making of the Chinese intellectual and cultural traditions. (shrink)

ABSTRACTLeon Goldstein's critical philosophy of history has suffered a relative lack of attention, but it is the outcome of an unusual story. He reached conclusions about the autonomy of the discipline of history similar to those of R. G. Collingwood and Michael Oakeshott, but he did so from within the Anglo‐American analytic style of philosophy that had little tradition of discussing such matters. Initially, Goldstein attempted to apply a positivistic epistemology derived from Hempel's philosophy of natural science to (...) class='Hi'>historical knowledge, but gradually formulated an anti‐realistic epistemology that firmly distinguished historical knowledge of the past not only from the scientific perspective but also from fictional and common‐sense attitudes to the past. Among his achievements were theories of the distinctive nature of historical evidence and historical propositions, of the constructed character of historical events, and of the relationship between historical research and contemporary culture. Taken together, his ideas merit inclusion among the most important twentieth‐century contributions to the problem of historical knowledge. (shrink)

This ambitious literary history traces the American novel from its emergence in the late eighteenth century to its diverse incarnations in the multi-ethnic, multi-media culture of the present day. In a set of original essays by renowned scholars from all over the world, the volume extends important critical debates and frames new ones. Offering new views of American classics, it also breaks new ground to show the role of popular genres - such as science fiction and mystery novels (...) - in the creation of the literary tradition. One of the original features of this book is the dialogue between the essays, highlighting cross-currents between authors and their works as well as across historical periods. While offering a narrative of the development of the genre, the History reflects the multiple methodologies that have informed readings of the American novel and will change the way scholars and readers think about American literary history. (shrink)

In Sweet Liberty, writer and director Alan Alda dramatizes the process of turning a scholarly study about the American Revolutionary War into a Hollywood film; he does so in ways that bring out the ethical complexities of adaptation, and eventually takes them to a meta-filmic level rarely seen in non-experimental cinema. While Sweet Liberty initially comes off as a light comedy with a predictable plot and ending, on closer inspection it compels us to reflect on the relationship between (...) class='Hi'>historical research and the popular entertainment industry. Although Alda appears to chastise the makers of period films who seek to capitalize on “history” without paying heed to historical facts, his professorial hero is not particularly critically minded either. Intentionally or not, Alda demonstrates that evaluating a mainstream history film cannot be reduced to a dichotomy between truth and fiction, and that research-based knowledge should also be viewed with a healthy skepticism. (shrink)

Leon Goldstein’s critical philosophy of history has suffered a relative lack of attention, but it is the outcome of an unusual story. He reached conclusions about the autonomy of the discipline of history similar to those of R. G. Collingwood and Michael Oakeshott, but he did so from within the Anglo-American analytic style of philosophy that had little tradition of discussing such matters. Initially, Goldstein attempted to apply a positivistic epistemology derived from Hempel’s philosophy of natural science to (...) class='Hi'>historical knowledge, but gradually formulated an anti-realistic epistemology that firmly distinguished historical knowledge of the past not only from the scientific perspective but also from fictional and common-sense attitudes to the past. Among his achievements were theories of the distinctive nature of historical evidence and historical propositions, of the constructed character of historical events, and of the relationship between historical research and contemporary culture. Taken together, his ideas merit inclusion among the most important twentieth-century contributions to the problem of historical knowledge. (shrink)

The article comparatively analyzes A.C. Danto’s and P. Ricœur’s theories of historical narration. Ricœur’s synthetic assimilation of Danto’s views is interpreted as a characteristic phenomenon of the dialogue between hermeneutics and analytical philosophy, and in a broader perspective – of contemporary European continental and Anglo-American philosophical traditions. The version of the analytical philosophy of history developed by Danto is interpreted as being formed in the course of overcoming epistemological program of logical positivism under the impact of a platform (...) of linguistic philosophy, pragmatism and neo-pragmatism as well as F. Nietzsche’s perspectivism and the ideas of existentialism. The articles examines fundamental conclusions of Danto’s “descriptive metaphysics” of history, which influence his understanding of a number of epistemological factors and ontological assumptions specific for the theory of historical narration. At the late stage of the evolution of his philosophy of history, Danto spoke of a radical challenge to his views on the part of T. Kuhn’s theory, but he did not give to it a constructive answer. Despite the significant philosophical differences, a number of Danto’s historical narration theory’s theses became acceptable for Ricœur, especially in the light of the American colleague final confession that knowledge of the past is dependent on the kind of existential presence in history specific for a human being. Taking M. Heidegger’s and H.G. Gadamer’s ideas as a basis of his approach to narration problem, Ricœur considered also important the “linguistic turn” initiated by L. Wittgenstein. Offering a positive evaluation of Danto’s analysis of history language, Ricœur simultaneously rightly criticized him for his neglect of the formal instruments of organizing of narrative – plot, intrigue, and composition that should affect the knowledge resources and testify on the unity of narration features in history and fiction as well. (shrink)

In Sweet Liberty, writer and director Alan Alda dramatizes the process of turning a scholarly study about the American Revolutionary War into a Hollywood film; he does so in ways that bring out the ethical complexities of adaptation, and eventually takes them to a meta-filmic level rarely seen in non-experimental cinema. While Sweet Liberty initially comes off as a light comedy with a predictable plot and ending, on closer inspection it compels us to reflect on the relationship between (...) class='Hi'>historical research and the popular entertainment industry. Although Alda appears to chastise the makers of period films who seek to capitalize on “history” without paying heed to historical facts, his professorial hero is not particularly critically minded either. Intentionally or not, Alda demonstrates that evaluating a mainstream history film cannot be reduced to a dichotomy between truth and fiction, and that research-based knowledge should also be viewed with a healthy skepticism. (shrink)

Octavia Butler's 1979 novel Kindred is a hybrid text: part historical novel, part science fiction/fantasy and part slave narrative. The story transports a contemporary black heroine into 19th–century Maryland in order to explore, recreate and connect with African American narratives of identity. Providing two narrative strands, one in 19th–century Maryland and the other in 20th–century California, the text is able to juxtapose the realities of slavery with its legacy. Conflating these time–periods, Kindred aims to interrogate the marginalization of (...) African American history, but specifically the role black women played in that history, in America's bicentennial year. While Butler adapts what has been regarded as the quintessential African American literary mode of the slave narrative, her fiction consciously draws upon a literary heritage that foregrounds narratives written by black women. Consequently, Kindred highlights the issues and concerns that directly affect the construction of black femininity and its role in the community of slaves as well as examining the historical pressure brought to bear on the configuration of contemporary African American womanhood. In doing so, Butler's fiction articulates the right of black women to intervene in their own construction and to inscribe the existence of black women in stories of originary identity. What this article seeks to explore is how Butler's fiction develops and extends the traditional slave narrative, how this is utilized in order to interrogate the ‘realities’ of both slavery and contemporary US society, and how effective the text is in challenging stereotypical representation of white and black femininity. (shrink)

CATEGORY: Philosophy play; historical fiction; comedy; social criticism. STORYLINE: Katherine, a slightly neurotic American lawyer, has tried very hard to find personal happiness in the form of friends and lovers. But she has not succeeded, and is therefore very unhappy. So she travels to London, hoping that Christianus — a well-known satisfactionist — may be able to help her. TOPICS: In the course of the play, Katherine and Christianus converse about many philosophical issues: the modern American military (...) presence in Iraq; the meaning of life; the ethics of abortion; assessing WHO death statistics; the potential personhood of foetuses; ancient Egyptian moustaches and beards; defining criteria for progress in human society; objectivity and subjectivity; Chicago futures trading developments; the virtues of cryonics technology; a U.S. Supreme Court case; important and unimportant knowledge; and spiritualist dualism vs. scientific materialism . NOTES: This work features elaborate footnotes and comments by the author, to enhance the reader's experience of the play and its philosophizing characters. (shrink)

Would you want to be operated on by a surgeon trained at a medical school that did not evaluate its students? Would you want to fly in a plane designed by people convinced that the laws of physics are socially constructed? Would you want to be tried by a legal system indifferent to the distinction between fact and fiction? These questions may seem absurd, but there are theories being seriously advanced by radical multiculturalists that force us to ask such questions. (...) These scholars assert that such concepts as truth and merit are inextricably racist and sexist, that reason and objectivity are merely sophisticated masks for ideological bias, and that reality itself is nothing more than socially constructed mechanism for preserving the power of the ruling elite. In Beyond All Reason, liberal legal scholars Daniel A. Farber and Suzanna Sherry mount the first systematic critique of radical multiculturalism as a form of legal scholarship. Beginning with an incisive overview of the origins and basic tenets of radical multiculturalism, the authors critically examine the work of Derrick Bell, Catherine MacKinnon, Patricia Williams, and Richard Delgado, and explore the alarming implications of their theories. Farber and Sherry push these theories to their logical conclusions and show that radical multiculturalism is destructive of the very goals it wishes to affirm. If, for example, the concept of advancement based on merit is fraudulent, as the multiculturalists claim, the disproportionate success of Jews and Asians in our culture becomes difficult to explain without opening the door to age-old anti-Semitic and racist stereotypes. If historical and scientific truths are entirely relative social constructs, then Holocaust denial becomes merely a matter of perspective, and Creationism has as much "validity" as evolution. The authors go on to show that rather than promoting more dialogue, the radical multiculturalist preferences for legal storytelling and identity politics over reasoned argument produces an insular set of positions that resist open debate. Indeed, radical multiculturalists cannot critically examine each others' ideas without incurring vehement accusations of racism and sexism, much less engage in fruitful discussion with a mainstream that does not share their assumptions. Here again, Farber and Sherry show that the end result of such thinking is not freedom but a kind of totalitarianism where dissent cannot be tolerated and only the naked will to power remains to settle differences. Sharply written and brilliantly argued, this book is itself a model of the kind of clarity, civility, and dispassionate critical thinking which the authors seek to preserve from the attacks of the radical multiculturalists. With far-reaching implications for such issues as government control of hate speech and pornography, affirmative action, legal reform, and the fate of all minorities, Beyond All Reason is a provocative contribution to one of the most important controversies of our time. (shrink)

Would you want to be operated on by a surgeon trained at a medical school that did not evaluate its students? Would you want to fly in a plane designed by people convinced that the laws of physics are socially constructed? Would you want to be tried by a legal system indifferent to the distinction between fact and fiction? These questions may seem absurd, but these are theories being seriously advanced by radical multiculturalists that force us to ask them. These (...) scholars assert that such concepts as truth and merit are inextricably racist and sexist, that reason and objectivity are merely sophisticated masks for ideological bias, and that reality itself is nothing more than a socially constructed mechanism for preserving the power of the ruling elite. In Beyond All Reason, liberal legal scholars Daniel A. Farber and Suzanna Sherry mount the first systematic critique of radical multiculturalism as a form of legal scholarship. Beginning with an incisive overview of the origins and basic tenets of radical multiculturalism, the authors critically examine the work of Derrick Bell, Catherine MacKinnon, Patricia Williams, and Richard Delgado, and explore the alarming implications of their theories. Farber and Sherry push these theories to their logical conclusions and show that radical multiculturalism is destructive of the very goals it wishes to affirm. If, for example, the concept of advancement based on merit is fraudulent, as the multiculturalists claim, the disproportionate success of Jews and Asians in our culture becomes difficult to explain without opening the door to age-old anti-Semitic and racist stereotypes. If historical and scientific truths are entirely relative social constructs, then Holocaust denial becomes merely a matter of perspective, and Creationism has as much "validity" as evolution. The authors go on to show that rather than promoting more dialogue, the radical multiculturalist preferences for legal storytelling and identity politics over reasoned argument produces an insular set of positions that resist open debate. Indeed, radical multiculturalists cannot critically examine each others' ideas without incurring vehement accusations of racism and sexism, much less engage in fruitful discussion with a mainstream that does not share their assumptions. Here again, Farber and Sherry show that the end result of such thinking is not freedom but a kind of totalitarianism where dissent cannot be tolerated and only the naked will to power remains to settle differences. Sharply written and brilliantly argued, this book is itself a model of the kind of clarity, civility, and dispassionate critical thinking which the authors seek to preserve from the attacks of the radical multiculturalists. With far-reaching implications for such issues as government control of hate speech and pornography, affirmative action, legal reform, and the fate of all minorities, Beyond All Reason is a provocative contribution to one of the most important controversies of our time. (shrink)

What does it mean to be black in America, to exist as a dark physical body, a "colored" voice, a stigmatized being in a society that sees, hears, and acts according to a set of bleaching assumptions? Versions of that question have echoed across our historical landscape ever since James-town, but rarely have they figured so forcibly as in the 1890s, when the Supreme Court upheld Ferguson over Plessy, Jim Crow laws spread through the South, degenerationists elaborated the "problem (...) of the Negro," imperialists hoisted the "white man's burden" of "little brown brothers" abroad, and racial lynching peaked at an all-time high that incited a national scandal. Any radical hopes for Reconstruction after the Civil War had long since vanished by the years of the fin de siècle. And a century later, the gains of a "Second Reconstruction" movement for civil rights have likewise eroded, with unparalleled "hypersegregation" accentuating new patterns of black poverty, unemployment, family disintegration, homelessness, and addiction.1 Being black, in other words, has meant—and, to a considerable degree, continues to mean—being excluded from white society, white prerogatives, even white discourse itself, in a process whose effects insidiously appear to legitimate the very causes that produce them. 1. C. Vann Woodward first warned of this unsettling repetition of nineteenth-century patterns in his 1965 suggestion that the civil rights movement might constitute a "Second Reconstruction" . In his recent reassessment of the troubling implications of that prediction, he notes how ghetto speech is growing more distinct from standard English: "The result is a vicious circle in which the longer blacks are made victims of the white stereotypes that foster hypersegregation, the more they appear to conform to the stereotypes that were used to justify segregation in the first place, and the deeper victims sink in isolation" . Lee Clark Mitchell, professor of English at Princeton University, is the author of Witnesses to a Vanishing America: The Nineteenth-Century Response and Determined Fictions: American Literary Naturalism . He is currently working on the formula western in a book tentatively titled "Writing Westward: Imagining America beyond the Frontier.". (shrink)

This article discusses the similarities and differences between what might be called two »crises of historical consciousness« in the late 17th and the late 20th, the first engendered by a combination of philosophical scepticism with new techniques for questioning the credibility of historical sources and detecting forgeries, the second in our crisis. The result is a widespread cultural relativism to which the debates on colonialism and feminism as well as the practice of anthropology and literary theory have contributed. (...) In both periods, the debate about epistemology is linked to the opening of the frontier between history and fiction and the rise of a hybrid genre of historical novel/novelistic exemplified by St. Real and Defoe in the first crisis, and by Eco, Keneally and many others today. (shrink)

American in rem, or civil, forfeiture laws seem to implicate constitutional concerns insofar as such laws may authorize the government to confiscate privately owned property, regardless of the guilt or innocence of the owner. Historically, the justification of in rem forfeiture law has rested on the legal fiction that “[t]he thing is . . . primarily considered as the offender, or rather the offense is attached primarily to the thing.” Last Term, in Bennis v. Michigan, the Supreme Court upheld (...) the constitutionality of a public nuisance statute that authorized the government to abate a car-owner’s property interest, even though there had been no showing of negligence or wrongdoing on the part of the owner herself. Referring to this country’s “longstanding practice” of in rem forfeiture proceedings, the Court held that abatement under the Michigan statute neither offended due process nor violated the Fifth Amendment’s prohibition against takings without just compensation. By basing its decision on precedent, the Court prudently resisted the temptation to legislate from the bench. The Court also reached the right result in denying relief to Mrs. Bennis. Unfortunately, the Court’s appeal to past practice did not adequately address the constitutional concerns raised by the case. If the Court had said more about the traditional purpose and limits of in rem forfeitures, it could have addressed these concerns, while still avoiding the dangers of judicial activism. (shrink)

Narrative history and narrative fiction can be thought of as opposite ends of a single theoretical continuum. Much of the literature on Stalin's purges and the rise of the Soviet gulag system, however, seems to be something more than fiction, yet less than strict historiography. There are five criteria which ease the difficulty in determining whether a given work is history or fiction: the qualitative degrees of truth, the scope of the work, the purpose of the work, the relationship of (...) the author to his or her subject, and the relationship of the reader to the narrative. In some cases the nature of historical events combines with the peculiar capabilities of narrative description to blur the distinction between reality and invention, and places constraints upon the historian's choice of narrative genre. Two hybrids are used as exemplars of works that are both historical and fictive: Solzhenitsyn's The Gulag Archipelago and Danilo Kis's A Tomb for Boris Davidovich. (shrink)

efining Documents in American History: Business Ethics offers an in-depth analysis of 67 primary source documents at the foundation of the study of business ethics. These include letters, newspaper accounts, book excerpts, speeches, political debates, testimony, firsthand accounts, memoirs, court rulings, legal texts, legislative acts, excerpts from both fiction and nonfiction books, and dialogues from dramatic works. More and more, the specific ethics policies that have many businesses and corporations developed in the 1970s and 80s are not enough today. (...) Transparency related to sources and materials, pricing strategies, and the public good are crucial for the success of any business. The material in this two-volume reference work is organized into five sections, and each section begins with a brief introduction that defines questions and problems underlying the subjects addressed in the historical documents. These documents provide an overview of business ethics and how it affects all of society, from the heads of corporations in industries like oil, energy, social media, food, and transportation to the workers that produce the goods and services to the consumers of those goods and services. They present a wide array of legal and moral opinions, descriptions of the effects that business ethics can play in the national and global economy, and they take a closer look at the way that business ethics relates to politics. Each historical document is supported by a critical essay, written by historians and teachers, that includes a Summary Overview, Defining Moment, Author Biography, Document Analysis, and Essential Themes. An important feature of each essay is a close reading of the primary source that develops broader themes, such as the author s rhetorical purpose, social or class position, point of view, and other relevant issues. Each essay also includes a Bibliography and Additional Reading section for further research. The detailed document analysis begins with early essays instrumental in the creation and development of the field of business ethics and continues to 2019 by examining issues relevant right now, from harassment and discrimination to technology and privacy. This two-volume set includes in-depth chapters that provide a thorough commentary of significant primary source documents. -- Amazon.com. (shrink)

This essay deals with American fiction between the early 1850s, when Hawthorne and Melville produced their best work, and the first novels of Howells and James in the early 1870s. The familiar notion that this was the period of transition from pre-Civil War Romanticism to postwar Realism tells us nothing in particular about it. Yet we need some historical frame in which to place both of the later efforts of Hawthorne and Melville and the apprentice work of the (...) next generation of novelists. To this end, I propose to examine a few examples of the popular fiction that held at least quantitative dominance of the field. Hawthorne and Melville believed that the unprecedented sales of a new kind of stories by women writers contributed significantly to the loss of audience they both suffered in the early 1850s; and not only Howells and James but also Mark Twain showed in their early careers an unacknowledged attraction toward the procedures of the popular novelists along with a conscious effort to escape from them...the type of best-seller that appeared in the 1850s was an accidental creation rather than the result of conscious contrivance on the part of either authors or publishers. In fact, it caught the publishers by surprise. According to the author's sister , Susan Warner's The Wide, Wide World was rejected by "almost all the leading book firms in New York," and the manuscript was returned with the comment "Fudge!" written on it by a reader for Harper's. Miss Warner, a thirty-one-year-old spinster, was the daughter of a once prosperous New York lawyer who had fallen into financial difficulties. The story resembles Charlotte Bronte's Jane Eyre to the extent that its heroine is an orphan exposed to poverty and psychological hardships who finally attains economic security and high social status through marriage. But the American writer places much more emphasis on the heroine's piety, and the book sets an all-time record for frequency of references to tears and weeping.Henry Nash Smith, professor of English at the University of California at Berkeley, received the John H. Dunning prize and the Bancroft Award for hisVirgin Land: The American West as Symbol and Myth. He has also written Mark Twain: The Development of a Writer, and Popular Culture and Industrialism. (shrink)

In the September-October 2001 issue of the Hastings Center Report, editor Gregory Kaebnick encouraged bioethicists to turn their attention toward “easily overlooked, relatively little-talked-about societal topics” such as race. In 2000 the president of the American Society for Bioethics had called for a more socially conscious bioethics. Race was risky territory, Kaebnick pointed out, but this challenge did not justify avoidance. Over the next fifteen years, the response to this editor's invitation to examine the racial dimensions of medicine in (...) the Report was limited both in quantity and in terms of the range of topics covered. All told, the bioethics community has not responded to the editor's call for bioethicists to engage with the racial dimension of medicine, and the Report has not really come through on the tacit commitment made in 2001. The lack of interest in race matters evidenced in the Report as well as the American Journal of Bioethics has also prevailed in medical humanities journals, whose few pieces on race have tended to remove race relations from our current realities in two ways: some articles locate medical racism in the American past or in colonial Africa, while others analyze the medical disorders of fictional characters. Bioethicists have not embraced the opportunity to create a sociologically and historically informed bioethics that might be applied to the lives of black Americans and their unending health crisis. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us (...) to reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

This project was provoked by the almost nonexistent pushback from the Democratic liberal establishment to the (2020) exoneration of Kyle Rittenhouse, despite his acknowledged killing of two Black Lives Matters protesters against the police murder of George Floyd. It builds on three prior articles arguing for the revival of ancient Dionysian practice, Haitian Vodou, and Indigenous South American shamanism to empower leftist revolution. In essence, I propose an assemblage of spiritual practices that are accessible today for the neo-colonized 99% (...) of the global population, by synthesizing and reconstructing three democratic, lower-SES, Indigenous religions, all of which share a militant defiance of their respective tyrannical plutocracies. To avoid cultural appropriation, I center these reconstructed spiritual practices on the figure of the “mage,” a psychosocial healer loosely analogous to a shaman. And the mage’s signature activity, “magic,” I redefine naturalistically as free interpersonal performative action, practiced using two theoretical disciplines (philosophy and psychology) and two practical disciplines chosen by each mage. More precisely, Spirit/Dance channels the “spirits” of dead ancestors, historical figures, legendary heroes, mythical beings, and fictional characters, into the three ultimate objectives of “mindfulness” for psyches/souls, “liberation” for mindful bodies, and “social justice” for liberated communities, indirectly empowering long-term revolution. (shrink)

The historical stages through which Latin American society has passed are at least four: the first, dominated by a particular sort of ethic I have termed the “ethic of the gift;” then the period of conquest, in which the prevalent ethic was one of war and subjection by force, which I call the “ethic of despotism;” followed by the colonial age, in which a new ethical model of “paternalism” emerged; and finally the stage of the “ethic of autonomy,” (...) which began with the independence movements of the 18th and 19th centuries and is far from ended. Independence was won by the criollos from European domination with very little participation by the Indian population. The latter was left out of the democratic process and saw itself relegated to a worse situation than in the centuries of colonial rule, for it was no longer protected by the paternalism of the Laws of the Indies of 1542. This is the reason for the division of the Latin American society of the last century into two quite different social strata: one bourgeois, which has assimilated the liberal revolution, and enjoys a health care quite similar to that available in any other Western country and hence faces the same bioethical problems as any developed Western society; the other a very poor stratum, without any economic or social power and hence unable to exercise its civil rights, such as the rights to life and to humane treatment. In this population sector, which is numerically the larger, the major bioethical problems are those of justice and the distribution of scarce resources. The study of Latin American medical ethics can earn for these subjects, whose deplorable condition has been essentially ignored in the bioethics of the first-world countries, the importance they merit. (shrink)

This essay surveys the present position of postmodernism with respect to the effect of its ideas upon historiography. For this purpose it looks at a number of writings by historians that have been a response to postmodernism including the recently published collection of articles, The Postmodern History Reader. The essay argues that, in contrast to scholars in the field of literary studies, the American historical profession has been much more resistant to postmodernist doctrines and that the latters' influence (...) upon the thinking and practice of historians is not only fading but increasingly destined to fade. The essay also presents a critical discussion of the current philosophy of postmodernism in its bearing upon historiography, directed chiefly against its claim that the world has undergone an epochal transition from the modern to a postmodern age; its theory of language and linguistic idealism; its opposition to historical realism and denial of the actuality of the past as a possible object of reference; and its theory of historical narrative as unconstrained fictional construction. This discussion includes a consideration of the work of postmodernist thinkers such as J.-F. Lyotard, of the recent books by David Roberts and Robert F. Berkhofer, Jr. which espouse a postmodernist theory of history, and of the narrativist theory of Hayden White. The essay also notes some of the reasons for postmodernism's appeal; and while it does not deny that postmodernist philosophy may have served a useful purpose in provoking historians to be more self-critical and aware of their presuppositions and procedures, it maintains that its skeptical and politicized view of historical inquiry is deeply mistaken, out of accord with the way historians themselves think about their work, and incapable of providing an understanding of historiography as a form of thought engaged in the attainment of knowledge and understanding of the human past. (shrink)

“The object of this book,” writes William C. Dowling in his preface, “is to make the key concepts of Paul Ricoeur’s _Time and Narrative_ available to readers who might have felt bewildered by the twists and turns of its argument.” The sources of puzzlement are, he notes, many. For some, it is Ricoeur’s famously indirect style of presentation, in which the polarities of argument and exegesis seem so often and so suddenly to have reversed themselves. For others, it is the (...) extraordinary intellectual range of Ricoeur’s argument, drawing on traditions as distant from each other as Heideggerian existentialism, French structuralism, and Anglo-American analytic philosophy. Yet beneath the labyrinthian surface of Ricoeur’s _Temps et récit_, Dowling reveals a single extended argument that, though developed unsystematically, is meant to be understood in systematic terms. __Ricoeur on Time and Narrative_ _presents that argument in clear and concise terms, in a way that will be enlightening both to readers new to Ricoeur and those who may have felt themselves adrift in the complexities of _Temps et récit,_ Ricoeur’s last major philosophical work. Dowling divides his discussion into six chapters, all closely involved with specific arguments in _Temps et récit_: on mimesis, time, narrativity, semantics of action, poetics of history, and poetics of fiction. Additionally, Dowling provides a preface that lays out the French intellectual context of Ricoeur's philosophical method. An appendix presents his English translation of a personal interview in which Ricoeur, having completed _Time and Narrative, _looks back over his long career as an internationally renowned philosopher. __Ricoeur on Time and Narrative___ _communicates to readers the intellectual excitement of following Ricoeur’s dismantling of established theories and arguments—Aristotle and Augustine and Husserl on time, Frye and Greimas on narrative structure, Arthur Danto and Louis O. Mink on the nature of historical explanation—while coming to see how, under the pressure of Ricoeur’s analysis, these ideas are reconstituted and revealed in a new set of relations to one another. "The scholarship in William C. Dowling's __Ricoeur on Time and Narrative____ __is impeccable; Dowling knows Ricoeur inside out. He highlights Ricoeur's most important arguments, presents them in a limpid, concise language, and links them to the relevant nineteenth- and twentieth-century philosophical developments. Dowling's book provides us with a lucid, intelligible version of Ricoeur's major work, one that will be of considerable significance to philosophers, historians, and literary theorists." —_Thomas Pavel, Gordon J. Laing Distinguished Service Professor of French Literature, and the Committee on Social Thought, University of Chicago_ "William C. Dowling's __Ricoeur on Time and Narrative___ _is a subtle and remarkably well-sustained piece of work. It provides a detailed introduction to a major work of philosophy and narrative theory—already a considerable achievement, given the difficulty of Ricoeur's text. However, Dowling also shows us, sometimes explicitly, sometimes simply through the way he conducts his argument, why we should bother with Ricoeur—what we have to gain from knowing him better than we do, however well we may think we know him." —_Michael Wood, Charles Barnwell Straut Class of 1923 Professor of English and Comparative Literature, Princeton University _. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface This issue of Feminist Studies includes a cluster of essays that demonstrates new approaches to life writing, with special attention to unconventional women’s autobiographies. Lara Vapnek describes the historical inhibitions that shaped the self-presentation of pioneering American labor activist Elizabeth Gurley Flynn in the early twentieth century such that she omitted her sexual relationships with both women and men from her autobiographical writings. Overlapping with Vapnek’s (...) historical focus, Nora Doyle’s essay takes a new look at Gertrude Stein’s bestknown and most accessible work, The Autobiography of Alice B. Toklas, seeing it as Stein’s clever reworking of the women’s genre of domestic fiction in its pairing of a domesticated wife with a “genius” husband. In her examination of Kamala Das’s Balyakala Smaranakal (Memories of childhood), Sharmila Sreekumar discusses how the memoir’s depiction of self-deferral rather than self-realization unsettles autobiographical conventions through its troubling of the relationship between “self,” “life,” and “writing” that is constitutive of the genre. In Olga Zilberbourg’s short story, two women are baffled as they contemplate a friend’s suicide: what does it say about their own accomplishments and losses? Attention to the visual aspects of women’s lives and to their embodiment is highlighted in Estelle Carol’s memoir about her time spent as a member of the Graphic Collective of the Chicago Women’s Liberation Union in the 1970s. Corey Hickner-Johnson’s lyrical essay describes the first-person I of the poem as pushing herself to a physical extreme. Her autobiographical crisis-moment, depicted in acutely visceral and visual terms, wills into relief life’s underlying colors against a backdrop of otherwise drab monotony and disappointment. Feminist graphic artwork is discussed in Hillary Chute’s review essay on the newly popular genre of graphic novels by women. Alexandra Ketchum’s “‘The Place We’ve Always Wanted to Go But Never Could Find’: Finding Woman Space in Feminist Restaurants and Cafés in Ontario 1974–1982” and Samantha Pergadia’s “Geologies of 8 Sex and Gender: Excavating the Materialism of Gayle Rubin and Judith Butler” shift our attention away from individual life trajectories to broader sweeps of space and time. Ketchum’s history of feminist restaurants and cafes in Ontario, Canada, in the mid 1970s to early 1980s encourages us to consider the importance of space to the formation of feminist solidarities and political organizing, while Pergadia’s analysis of the geological understandings that undergird the work of both Gayle Rubin and Judith Butler invites us to rethink the temporalities through which gendered and sexed subjects, as well as academic disciplines, are formed. In closing, Ashwini Tambe reflects on the #MeToo movement and how we might fashion a more responsive public reckoning with sexual coercion. The issue leads off with Vapnek’s essay, “The Rebel Girl Revisited: Rereading Elizabeth Gurley Flynn’s Life Story.” As Vapnek details, Flynn, an activist in the Industrial Workers of the World, chronicled her life only as far as 1926. Although she envisioned women’s emancipation as an integral component of the socialist revolution, her self-censorship reveals “how communism as well as anticommunism has limited our knowledge of the feminist past.” Flynn remained committed to socialism and women’s rights and continued to agitate for social change, but her efforts to narrate her later life were stymied by internal inhibitions and external forces. For a decade she lived with another woman at a time when leftists were not open about same-sex relationships. Nor did she wish to reveal her sexual relationships with a number of men or the psychological breakdown she suffered in 1926. Joining the US Communist Party in 1936 re-energized her career as a labor organizer and resulted in her being sent to prison from 1955 to 1957 during the period of the Red Scare in the United States. By her middle age, she had experienced not only nonconventional personal relationships but also a dramatic change in her appearance: rather than the slim girl pictured on the cover of songs designed to encourage the labor movement, she was a stout, matronly woman. Inhibited from revising her autobiography to account for her later life... (shrink)

Margaret Pabst Battin has established a reputation as one of the top philosophers working in bioethics today. This work is a sequel to Battin's 1994 volume The Least Worst Death. The last ten years have seen fast-moving developments in end-of-life issues, from the legalization of physician-assisted suicide in Oregon and the Netherlands, to a furor over proposed restrictions of scheduled drugs used for causing death, and the development of "NuTech" methods of assistance in dying. Battin's new collection covers a remarkably (...) wide range of end-of-life topics, including suicide prevention, AIDS, suicide bombing, serpent-handling and other religious practices that pose a risk of death, genetic prognostication, suicide in old age, global justice and the "duty to die." It also examines suicide, physician-assisted suicide, and euthanasia in both American and international contexts. As with the earlier volume, these new essays are theoretically adroit but draw richly from historical sources, fictional techniques, and ample factual material. (shrink)

Is Rabinowitz seriously suggesting that his “rules” of reading are equally applicable to the analysis of British and American forms of popular writing and their readerships between 1920 and the 1960s? Is he seriously suggesting that Gone with the Wind, for example, would be “read” in the same way and for the same meanings in the southern states, the northern states, in Yorkshire and London? In this particular case the issue of cultural reproduction is also crucial—the complex relations between (...) the book and film “texts” and readerships for both. Is the book now read “through” the film and the mythos of Hollywood? Can the novel’s “history” of the Civil War and the period of Reconstruction be seen in relation to experience of the Depression on the one hand and to dominant historical discourses of the period privileged within American educational institutions on the other?2Or, if we take a British example like A. J. Cronin, whose work was regarded as both “serious” and “popular” in the late 1930s, what happens to Rabinowitz’s distinction? Clearly, Cronin’s fiction is not “acceptable” in the literary canon but his example illustrates the weakness of any critical analysis of the popular rooted in “literary” assumptions. Very important questions are raised by the commercial success of The Citadel, not among “the people” in any generalized sense but among specific constituencies of professional, middle-class readerships in both New Deal American and in Britain during a period of history remarkable for the regrouping of the forces of social-democratic consensus politics—an alliance between “sympathetic” fractions of the professional middle class and “the people” which culminated eventually in the postwar Labour party election victory. Thus readers are not only readers, and the processes of reading—especially perhaps of popular fiction—are not reducible to abstract rules which exclude all considerations of cultural=political institutions and discourses. 2. This example is partly indebted to discussion with Greg Gaut and Jane P. Tompkins during a University of Minnesota Conference, “On the Social Edge” . Derek Longhurst is principal lecturer and course leader in communication studies at Sunderland Polytechnic and general editor of the forthcoming series Culture and Popular Fiction. His publications include chapters in Re-Reading English and An Introduction to Contemporary Cultural Studies. He is currently working on a book about the political thriller. (shrink)