Abstract:Even as suicide bombing attacks have become a disturbingly regular feature of today's geopolitical landscape, the phenomenon continues to figure an upper limit to thinking on contemporary violence. As psychoanalyst Jacqueline Rose writes in The Last Resistance, suicide bombing is considered "a peculiarly monstrous, indeed inhuman, aberration that cannot—or indeed must not—be understood."1 Although statistically, Rose points out, suicide bombings claim far fewer victims than acts of conventional warfare and state violence, neoliberal democracies in the West reserve a special kind of dread and antipathy for the suicide bomber. Perhaps this is because suicide terrorist attacks, as Alex Houen suggests, are both "experienced and expressed as hyperbole," or because they provoke a public response that can only be classified in terms of sheer "horror."2
{"title":"Dead Narrators, Queer Terrorists: On Suicide Bombing and Literature","authors":"Doyle Calhoun","doi":"10.1353/nlh.2022.0013","DOIUrl":"https://doi.org/10.1353/nlh.2022.0013","url":null,"abstract":"Abstract:Even as suicide bombing attacks have become a disturbingly regular feature of today's geopolitical landscape, the phenomenon continues to figure an upper limit to thinking on contemporary violence. As psychoanalyst Jacqueline Rose writes in The Last Resistance, suicide bombing is considered \"a peculiarly monstrous, indeed inhuman, aberration that cannot—or indeed must not—be understood.\"1 Although statistically, Rose points out, suicide bombings claim far fewer victims than acts of conventional warfare and state violence, neoliberal democracies in the West reserve a special kind of dread and antipathy for the suicide bomber. Perhaps this is because suicide terrorist attacks, as Alex Houen suggests, are both \"experienced and expressed as hyperbole,\" or because they provoke a public response that can only be classified in terms of sheer \"horror.\"2","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"53 1","pages":"285 - 304"},"PeriodicalIF":0.9,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44525111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay is about the New Thought movement, a spiritualist trend at the turn of the twentieth century which taught that human creativity is the very substance of divinity. It focuses on the career of New Thought's most famous preacher, a popular philosopher named Ralph Waldo Trine, who encouraged readers to see that "thoughts are forces," and "through them we have creative power." New Thought's faith in the power of creative thinking helped turn creativity into the popular obsession it remains today. Creativity has become a term of art for the tech industry, and more broadly, it has come to be seen as an economic asset; the history of New Thought helps explain how this happened. Trine and his colleagues preached a gospel of creativity, but in doing so they heralded what one commentator has called our current "gospel of work."
{"title":"The Gospel of Creativity","authors":"J. de Stefano","doi":"10.1353/nlh.2022.0011","DOIUrl":"https://doi.org/10.1353/nlh.2022.0011","url":null,"abstract":"Abstract:This essay is about the New Thought movement, a spiritualist trend at the turn of the twentieth century which taught that human creativity is the very substance of divinity. It focuses on the career of New Thought's most famous preacher, a popular philosopher named Ralph Waldo Trine, who encouraged readers to see that \"thoughts are forces,\" and \"through them we have creative power.\" New Thought's faith in the power of creative thinking helped turn creativity into the popular obsession it remains today. Creativity has become a term of art for the tech industry, and more broadly, it has come to be seen as an economic asset; the history of New Thought helps explain how this happened. Trine and his colleagues preached a gospel of creativity, but in doing so they heralded what one commentator has called our current \"gospel of work.\"","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"53 1","pages":"241 - 263"},"PeriodicalIF":0.9,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48702237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This exchange is the edited transcript of an event that took place at the Center for Fiction in Brooklyn, New York, on November 18, 2021. The conversation is the first in a series jointly sponsored by New Literary History and the Center for Fiction that brings together novelists and poets with literary theorists and historians to create a series of in-depth conversations about the state of literary practice and study in the contemporary world.
{"title":"Creative Writing and Critical Thought I Queer Theory/Queer Fiction","authors":"Carolyn Dinshaw, Garth T. Greenwell","doi":"10.1353/nlh.2022.0012","DOIUrl":"https://doi.org/10.1353/nlh.2022.0012","url":null,"abstract":"Abstract:This exchange is the edited transcript of an event that took place at the Center for Fiction in Brooklyn, New York, on November 18, 2021. The conversation is the first in a series jointly sponsored by New Literary History and the Center for Fiction that brings together novelists and poets with literary theorists and historians to create a series of in-depth conversations about the state of literary practice and study in the contemporary world.","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"53 1","pages":"265 - 283"},"PeriodicalIF":0.9,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41445547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article offers a reconsideration of the epic in modernity by situating Rebecca West's monumental travelogue and chronicle of Yugoslavian history—Black Lamb and Grey Falcon (1941)—as a central example of a "modern epic." A revision of the theopolitical logic of the epic as unfolded in Black Lamb is charted: while the epic—after Hegel and Lukács—has often been taken to present the Kingdom of Heaven in its immanent realization on earth, Black Lamb formulates instead a divergence between the earthly and heavenly Kingdoms. In articulating both division and relation between the secular and sacred Kingdoms, West develops a political theology through a rereading of Saint Augustine's City of God. The teleological trajectories of the secular politics of a particular European state and the horizon of a universal spiritual eschatology thus find a formal relation in Black Lamb through an epic narrative that incorporates the transformational dimension of a pilgrimage. On the one hand, literary craft and statecraft are folded together in West's reconstruction of the "racial destinies" of the South Slavs ("the history of resurrected Serbia"), spanning the long historical bracket from the 1389 Battle of Kosovo to the 1918 establishment of the Kingdom of Serbs, Croats, and Slovenes. On the other hand, the consecration of the earthly Kingdom is itself relativized against the spiritual eschatology of humanity as a whole through West's incorporation of the mode of ironic negation. The establishment of the earthly state and its projected transformation in the heavenly Kingdom are thus interwoven to form the epic tapestry of Black Lamb, which elaborates a formal analogy between art and liturgy as common means of relating historical suffering to its overcoming. This article thus concludes with a consideration of the role of liturgical temporality in epic narration.
{"title":"The Kingdom and the Pilgrim's Way: Epic, Irony, and Rebecca West's Black Lamb and Grey Falcon","authors":"Zhao F. Ng","doi":"10.1353/nlh.2022.0014","DOIUrl":"https://doi.org/10.1353/nlh.2022.0014","url":null,"abstract":"Abstract:This article offers a reconsideration of the epic in modernity by situating Rebecca West's monumental travelogue and chronicle of Yugoslavian history—Black Lamb and Grey Falcon (1941)—as a central example of a \"modern epic.\" A revision of the theopolitical logic of the epic as unfolded in Black Lamb is charted: while the epic—after Hegel and Lukács—has often been taken to present the Kingdom of Heaven in its immanent realization on earth, Black Lamb formulates instead a divergence between the earthly and heavenly Kingdoms. In articulating both division and relation between the secular and sacred Kingdoms, West develops a political theology through a rereading of Saint Augustine's City of God. The teleological trajectories of the secular politics of a particular European state and the horizon of a universal spiritual eschatology thus find a formal relation in Black Lamb through an epic narrative that incorporates the transformational dimension of a pilgrimage. On the one hand, literary craft and statecraft are folded together in West's reconstruction of the \"racial destinies\" of the South Slavs (\"the history of resurrected Serbia\"), spanning the long historical bracket from the 1389 Battle of Kosovo to the 1918 establishment of the Kingdom of Serbs, Croats, and Slovenes. On the other hand, the consecration of the earthly Kingdom is itself relativized against the spiritual eschatology of humanity as a whole through West's incorporation of the mode of ironic negation. The establishment of the earthly state and its projected transformation in the heavenly Kingdom are thus interwoven to form the epic tapestry of Black Lamb, which elaborates a formal analogy between art and liturgy as common means of relating historical suffering to its overcoming. This article thus concludes with a consideration of the role of liturgical temporality in epic narration.","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"53 1","pages":"305 - 330"},"PeriodicalIF":0.9,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42163411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article builds on the theorization of the Bildungsroman as advanced by Nancy Armstrong and Franco Moretti. This narrative form is particularly suited to the expression of American self-formation, which ever since the formalization of the "birth of the nation" and "pursuit of happiness" ethos via the Declaration of Independence (1776), has elided labor, work ethic, and the interminable pursuit of fame and fortune with the formation of character and a secure identity. Since their inception, YouTube and Instagram (2005 and 2010, respectively) have steadily grown to replace traditional forms of media and entertainment, and in turn, inscribed a new form of digital celebrity known as the "influencer." While recent research by Chris Stokel-Walker, amongst others, has analyzed this phenomenon in relation to the displacement of television, we see an even more pertinent connection with the novel. In particular, the narrative form of the Bildungsroman can be seen to be restructured in video form, constituting a uniquely twenty-first century narrative of development in which the influencer can be read as both author and hero. We term this process digital-bildungs. These narratives, we argue, reproduce the conventions of the classical Bildungsroman in a way that is conservative in its rehashing of the narratological imperatives of courtship, marriage, reproduction, and land acquisition, yet consistent with the allure of twenty-first century technology, luxury, and glamour.
{"title":"Perpetual Becoming, Deferred Arrival: The Author-Hero in the Age of Digital Celebrity","authors":"Sara Fernandes, Lydia Saleh Rofail","doi":"10.1353/nlh.2022.0010","DOIUrl":"https://doi.org/10.1353/nlh.2022.0010","url":null,"abstract":"Abstract:This article builds on the theorization of the Bildungsroman as advanced by Nancy Armstrong and Franco Moretti. This narrative form is particularly suited to the expression of American self-formation, which ever since the formalization of the \"birth of the nation\" and \"pursuit of happiness\" ethos via the Declaration of Independence (1776), has elided labor, work ethic, and the interminable pursuit of fame and fortune with the formation of character and a secure identity. Since their inception, YouTube and Instagram (2005 and 2010, respectively) have steadily grown to replace traditional forms of media and entertainment, and in turn, inscribed a new form of digital celebrity known as the \"influencer.\" While recent research by Chris Stokel-Walker, amongst others, has analyzed this phenomenon in relation to the displacement of television, we see an even more pertinent connection with the novel. In particular, the narrative form of the Bildungsroman can be seen to be restructured in video form, constituting a uniquely twenty-first century narrative of development in which the influencer can be read as both author and hero. We term this process digital-bildungs. These narratives, we argue, reproduce the conventions of the classical Bildungsroman in a way that is conservative in its rehashing of the narratological imperatives of courtship, marriage, reproduction, and land acquisition, yet consistent with the allure of twenty-first century technology, luxury, and glamour.","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"53 1","pages":"217 - 240"},"PeriodicalIF":0.9,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49152118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article considers medieval and early modern strategies of racialization and periodization through the figure of the hold and the critical lens of empathy. I take as my test case The Squire's Tale by Geoffrey Chaucer that reimagines the medieval Mongol empire. Empathy, the act of feeling into a strange aesthetic object, person, or situation, characterizes the affective similitude interposed between the tale's heroine, Canacee, and the wounded falcon. Canacee's empathic lap is one figuration of the premodern hold that attempts to contain and erase difference. Empathy as an approach to history and cross-racial encounters, however, is deeply problematic. Next, I examine periodization as the historiographic equivalent to racial passing, arguing that classification and recognition do not always align. The empathic scene is often a failed encounter marked by the noncoincidence of subjects or objects. The falcon in Canacee's lap signifies whiteness as racial capital in the guise of European courtliness. I then turn to the reception history of The Squire's Tale, in which readers have constructed a modern, Orientalizing Part 1 vis-à-vis a medieval, de-Orientalizing Part 2. The critical periodizing impulses extend to early modern assessments of Chaucer. Milton's designation of the tale as "half told" is a Foucauldian contre-practice that emblematizes all sorts of modernist and Orientalist efforts at periodizing and racializing texts, bodies, and histories. Finally, I consider the limits of figural approaches to periodization and racialization and advocate the practice of critical implication in place of interpellation.
{"title":"In the Lap of Whiteness","authors":"Wan-Chuan Kao","doi":"10.1353/nlh.2021.0025","DOIUrl":"https://doi.org/10.1353/nlh.2021.0025","url":null,"abstract":"Abstract:This article considers medieval and early modern strategies of racialization and periodization through the figure of the hold and the critical lens of empathy. I take as my test case The Squire's Tale by Geoffrey Chaucer that reimagines the medieval Mongol empire. Empathy, the act of feeling into a strange aesthetic object, person, or situation, characterizes the affective similitude interposed between the tale's heroine, Canacee, and the wounded falcon. Canacee's empathic lap is one figuration of the premodern hold that attempts to contain and erase difference. Empathy as an approach to history and cross-racial encounters, however, is deeply problematic. Next, I examine periodization as the historiographic equivalent to racial passing, arguing that classification and recognition do not always align. The empathic scene is often a failed encounter marked by the noncoincidence of subjects or objects. The falcon in Canacee's lap signifies whiteness as racial capital in the guise of European courtliness. I then turn to the reception history of The Squire's Tale, in which readers have constructed a modern, Orientalizing Part 1 vis-à-vis a medieval, de-Orientalizing Part 2. The critical periodizing impulses extend to early modern assessments of Chaucer. Milton's designation of the tale as \"half told\" is a Foucauldian contre-practice that emblematizes all sorts of modernist and Orientalist efforts at periodizing and racializing texts, bodies, and histories. Finally, I consider the limits of figural approaches to periodization and racialization and advocate the practice of critical implication in place of interpellation.","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"52 1","pages":"535 - 561"},"PeriodicalIF":0.9,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48366536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay uses the "Race and Periodization" conference of 2019 as a point of departure to consider the role played by different types of words that contributed to the construction of racial thinking over the centuries. The words to be examined in the main sections include race and one of its synonyms (kin), a proper name (Aryan), and adjectives denoting colors (black and white in Old English). The concluding section circles back the word Anglo-Saxon to compare the trajectory of the semantic development of this word with those of race and Aryan in order to foreground some of the resemblances among these three. In order to place its investigation of race and other English words in a larger, global perspective, this essay begins each section with brief accounts of events that took place in two very different parts of the world: namely, England and Japan. While it is more common to consider the question of race in relation to the Western hemisphere, this essay encourages us to look in the other direction to recognize the global impact of racial thinking.
{"title":"The Theater of Race and Its Supporting Actors: A Tale of Two Islands","authors":"H. Momma","doi":"10.1353/nlh.2021.0020","DOIUrl":"https://doi.org/10.1353/nlh.2021.0020","url":null,"abstract":"Abstract:This essay uses the \"Race and Periodization\" conference of 2019 as a point of departure to consider the role played by different types of words that contributed to the construction of racial thinking over the centuries. The words to be examined in the main sections include race and one of its synonyms (kin), a proper name (Aryan), and adjectives denoting colors (black and white in Old English). The concluding section circles back the word Anglo-Saxon to compare the trajectory of the semantic development of this word with those of race and Aryan in order to foreground some of the resemblances among these three. In order to place its investigation of race and other English words in a larger, global perspective, this essay begins each section with brief accounts of events that took place in two very different parts of the world: namely, England and Japan. While it is more common to consider the question of race in relation to the Western hemisphere, this essay encourages us to look in the other direction to recognize the global impact of racial thinking.","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"52 1","pages":"407 - 429"},"PeriodicalIF":0.9,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42126894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In his famous work The Racial Contract, the late Charles Mills briefly gestures at a hypothetical counter-history of the "racial contract" which he argues drives the history of white supremacy. Mills suggests that the vision of contract defined by Thomas Hobbes in Leviathan comes much closer than its Lockean and Enlightenment successors to understanding the physics of power: the relationship between the texts of contracts and the kinetic forces that they regulate. In this essay, I develop a framework for a counter-history of the racial contract by locating Hobbes' Leviathan in the timeline of a slave-trading contract called the Asiento de Negros. As texts and contexts for each other, Leviathan and the Asiento de Negros suggest how the history of the racial contract evolves in relation to a kinetic relationship between the forces of race war and racial capitalism as defined respectively by Michel Foucault and Cedric Robinson. Peace was one name for this kinetic relationship, as I show through a reading of the Anglo-Spanish peace treaty signed at Madrid in 1667. Leviathan and the Asiento both explain the combination of historical forces that drives this treaty from within – their absence from its juridical exterior helps explain how the race of peace and peace of races advances the contradiction between white supremacy in its de facto and de juro manifestations.
{"title":"Leviathan and the Asiento: A Counter-History of the Racial Contract","authors":"Farid Azfar","doi":"10.1353/nlh.2021.0021","DOIUrl":"https://doi.org/10.1353/nlh.2021.0021","url":null,"abstract":"Abstract:In his famous work The Racial Contract, the late Charles Mills briefly gestures at a hypothetical counter-history of the \"racial contract\" which he argues drives the history of white supremacy. Mills suggests that the vision of contract defined by Thomas Hobbes in Leviathan comes much closer than its Lockean and Enlightenment successors to understanding the physics of power: the relationship between the texts of contracts and the kinetic forces that they regulate. In this essay, I develop a framework for a counter-history of the racial contract by locating Hobbes' Leviathan in the timeline of a slave-trading contract called the Asiento de Negros. As texts and contexts for each other, Leviathan and the Asiento de Negros suggest how the history of the racial contract evolves in relation to a kinetic relationship between the forces of race war and racial capitalism as defined respectively by Michel Foucault and Cedric Robinson. Peace was one name for this kinetic relationship, as I show through a reading of the Anglo-Spanish peace treaty signed at Madrid in 1667. Leviathan and the Asiento both explain the combination of historical forces that drives this treaty from within – their absence from its juridical exterior helps explain how the race of peace and peace of races advances the contradiction between white supremacy in its de facto and de juro manifestations.","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"52 1","pages":"431 - 467"},"PeriodicalIF":0.9,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42833216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In this article, we explore the Orientalized perception and racialized representation of the Afro-Arab sultan of Morocco MūlāyIsmā' īl(r. 1672 to 1727) as found in seventeenth- and eighteenth-century French sources. We do so by chiefly revisiting the mock "fairy tale love story" of MūlāyIsmā' īl, including his alleged marriage proposal to Marie Anne de Bourbon, la Princesse de Conti, the eldest legitimized and favorite daughter of King Louis XIV of France. After examining the Orientalist tropes of French and European images of MūlāyIsmā' īl, we turn to a number of modern and contemporary Moroccan defenses of MūlāyIsmā' īl, especially as articulated by Moroccan historian and apologist Ibn Zaydān, one of presumably thousands of MūlāyIsmā' īl's descendants. Our aim is to explore how the racially charged Franco demonizations and the discursively loaded Moroccan vindications of MūlāyIsmā' īlhave been reinvented and renegotiated in French and Arabic historical and literary sources from the seventeenth century up to the twenty-first century.
{"title":"A Tale of Two Sultans: Franco-Moroccan ReInventions of Mūlāy Ismā'īl and his Marriage Proposal to La Princesse de Conti","authors":"Nizar F. Hermes, Mary Allen","doi":"10.1353/nlh.2021.0023","DOIUrl":"https://doi.org/10.1353/nlh.2021.0023","url":null,"abstract":"Abstract:In this article, we explore the Orientalized perception and racialized representation of the Afro-Arab sultan of Morocco MūlāyIsmā' īl(r. 1672 to 1727) as found in seventeenth- and eighteenth-century French sources. We do so by chiefly revisiting the mock \"fairy tale love story\" of MūlāyIsmā' īl, including his alleged marriage proposal to Marie Anne de Bourbon, la Princesse de Conti, the eldest legitimized and favorite daughter of King Louis XIV of France. After examining the Orientalist tropes of French and European images of MūlāyIsmā' īl, we turn to a number of modern and contemporary Moroccan defenses of MūlāyIsmā' īl, especially as articulated by Moroccan historian and apologist Ibn Zaydān, one of presumably thousands of MūlāyIsmā' īl's descendants. Our aim is to explore how the racially charged Franco demonizations and the discursively loaded Moroccan vindications of MūlāyIsmā' īlhave been reinvented and renegotiated in French and Arabic historical and literary sources from the seventeenth century up to the twenty-first century.","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"52 1","pages":"489 - 507"},"PeriodicalIF":0.9,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46380121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Early modern English approaches to racial mixing are marked by inconsistency. In this, they find affinity with the approaches of subsequent history, in which the topic of mixedness is subject to divergent, often conflicting, concerns, observations, and theories. In dominant discourse, the topic has historically been—and continues to be—regularly cleaved from historical precedent and present reality, many times in ways that augur otherwise improbable futures. Inconsistency thus offers perhaps the most consistent characteristic through which to chart the trajectory of approaches to racial mixing across time. While we might certainly sketch a broad historical path of dominant approaches to the topic, in practice, beliefs about mixedness regularly emerge and reemerge in ways that complicate and at times contravene what we might envision as the prevailing perspective or historical reality of a given moment.
{"title":"Emphasis and Elision: Early Modern English Approaches to Racial Mixing and their Afterlives","authors":"Kyle Grady","doi":"10.1353/nlh.2021.0027","DOIUrl":"https://doi.org/10.1353/nlh.2021.0027","url":null,"abstract":"Abstract:Early modern English approaches to racial mixing are marked by inconsistency. In this, they find affinity with the approaches of subsequent history, in which the topic of mixedness is subject to divergent, often conflicting, concerns, observations, and theories. In dominant discourse, the topic has historically been—and continues to be—regularly cleaved from historical precedent and present reality, many times in ways that augur otherwise improbable futures. Inconsistency thus offers perhaps the most consistent characteristic through which to chart the trajectory of approaches to racial mixing across time. While we might certainly sketch a broad historical path of dominant approaches to the topic, in practice, beliefs about mixedness regularly emerge and reemerge in ways that complicate and at times contravene what we might envision as the prevailing perspective or historical reality of a given moment.","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"52 1","pages":"585 - 604"},"PeriodicalIF":0.9,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49010142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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