death offered uniformly positive reports of Concord's sage (276). Later biographers emphasized Emerson's "adaptations" of the thinking ofworld famous philosophers such as Plato, Coleridge, and Goethe (277). The psychological portrait of Emerson, published by Professor Stephen Whicher in 1953, still remains influential today. Bosco argues that "serious study" remains to be completed on the part of Emerson's late career that has been lost to the "present generation" mostly due to Whicher's influence of valuing only Emerson's work from the period 1830-1860 (277-79, 283). Fortunately the new volume, The Later Lectures ofRalph WaUh Emerson, 1843— 1871 will include lectures from the final productive decade of his life. Scholars may question the extent of the editing performed by the Emerson family because of Emerson's aphasia. However, cautions regarding the editing may be brought out without causing the work to be disregarded. The scholars who contributed to The Historical Guide have enriched the read-
{"title":"Sentimental Collaborations: Mourning and Middle-Class Identity in Nineteenth-Century America by Mary Louise Kete (review)","authors":"Elizabeth Dill","doi":"10.5860/choice.38-2603","DOIUrl":"https://doi.org/10.5860/choice.38-2603","url":null,"abstract":"death offered uniformly positive reports of Concord's sage (276). Later biographers emphasized Emerson's \"adaptations\" of the thinking ofworld famous philosophers such as Plato, Coleridge, and Goethe (277). The psychological portrait of Emerson, published by Professor Stephen Whicher in 1953, still remains influential today. Bosco argues that \"serious study\" remains to be completed on the part of Emerson's late career that has been lost to the \"present generation\" mostly due to Whicher's influence of valuing only Emerson's work from the period 1830-1860 (277-79, 283). Fortunately the new volume, The Later Lectures ofRalph WaUh Emerson, 1843— 1871 will include lectures from the final productive decade of his life. Scholars may question the extent of the editing performed by the Emerson family because of Emerson's aphasia. However, cautions regarding the editing may be brought out without causing the work to be disregarded. The scholars who contributed to The Historical Guide have enriched the read-","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115892667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
being open to the past Roderick is eager to hand on (177-78); no mention is made of the horror of that past. Dimmesdale's final speech and revelation is heralded as a catalyst for community redemption (106-07); no mention is made of the deep ironies of his speech, and of his abandonment of Hester. And since Pease wants to use Ishmael to underscore "the fundamental problem for a society which has lost sight of a shared covenant" (275), no mention is made of Ishmael's bond with Queequeg. Finally, consider this reading of The Leatherstocking Tales: "By converting those pre-Revolutionary years into a historical period in which Americans were affiliated with the last of a noble Indian line, Cooper enabled Americans to imagine the American nation as the beginning of a new cultural line which included all Americans as its heirs" (21-22). Cooper certainly did not envision a culture in which all races were peacefully compacted together. Pease's "all Americans" apparently does not include Indians, nor members of other races. Pease's new treatment of the American Renaissance is, in fact, unfortunately traditional in its lack of attention to the cultural work of Native Americans, Blacks, and women, all of whom offered more inclusive "visionary compacts" than those of their white male contemporaries. The lack of attention to nineteenth-century women writers is especially surprising, since Pease co-edited The American Renaissance Reconsidered (1985), in which appears Jane P. Tompkins' "The Other American Renaissance." Tompkins reinterprets the period's popular "sentimental" novels as literature which spoke to the real needs of its culturally oppressed female audience, an audience in the main not spoken to by the writers Pease assesses. The various sins of commission and omission mentioned above would be more forgivable, were not their author so sure of his righteousness. Like some other new historicists, Pease is quick to attack others for "appropriating" earlier culture-bound literature into their own present ideology (48), but refuses to acknowledge that his own interpretation is also an ideological appropriation, inevitably biased in its interests. I find his attack on F. O. Matthiessen particularly offensive, since Matthiessen at least makes his political agenda plain throughout his brilliantly sustained study. The contemporary critical establishment, however, has not been offended by Visionary Compacts: its back jacket boasts blurbs of praise from Geoffrey Hartman, Richard Poirier, Lawrence Buell, and Joseph Riddle. Perhaps the reader should heed the words of these authorities, rather than of this reviewer.
{"title":"The Futurist Moment: Avant-Garde, Avant Guerre, and the Language of Rupture by Marjorie Perloff (review)","authors":"Patricia D. Hopkins","doi":"10.2307/1347451","DOIUrl":"https://doi.org/10.2307/1347451","url":null,"abstract":"being open to the past Roderick is eager to hand on (177-78); no mention is made of the horror of that past. Dimmesdale's final speech and revelation is heralded as a catalyst for community redemption (106-07); no mention is made of the deep ironies of his speech, and of his abandonment of Hester. And since Pease wants to use Ishmael to underscore \"the fundamental problem for a society which has lost sight of a shared covenant\" (275), no mention is made of Ishmael's bond with Queequeg. Finally, consider this reading of The Leatherstocking Tales: \"By converting those pre-Revolutionary years into a historical period in which Americans were affiliated with the last of a noble Indian line, Cooper enabled Americans to imagine the American nation as the beginning of a new cultural line which included all Americans as its heirs\" (21-22). Cooper certainly did not envision a culture in which all races were peacefully compacted together. Pease's \"all Americans\" apparently does not include Indians, nor members of other races. Pease's new treatment of the American Renaissance is, in fact, unfortunately traditional in its lack of attention to the cultural work of Native Americans, Blacks, and women, all of whom offered more inclusive \"visionary compacts\" than those of their white male contemporaries. The lack of attention to nineteenth-century women writers is especially surprising, since Pease co-edited The American Renaissance Reconsidered (1985), in which appears Jane P. Tompkins' \"The Other American Renaissance.\" Tompkins reinterprets the period's popular \"sentimental\" novels as literature which spoke to the real needs of its culturally oppressed female audience, an audience in the main not spoken to by the writers Pease assesses. The various sins of commission and omission mentioned above would be more forgivable, were not their author so sure of his righteousness. Like some other new historicists, Pease is quick to attack others for \"appropriating\" earlier culture-bound literature into their own present ideology (48), but refuses to acknowledge that his own interpretation is also an ideological appropriation, inevitably biased in its interests. I find his attack on F. O. Matthiessen particularly offensive, since Matthiessen at least makes his political agenda plain throughout his brilliantly sustained study. The contemporary critical establishment, however, has not been offended by Visionary Compacts: its back jacket boasts blurbs of praise from Geoffrey Hartman, Richard Poirier, Lawrence Buell, and Joseph Riddle. Perhaps the reader should heed the words of these authorities, rather than of this reviewer.","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"107 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131427973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Eighteenth Century English Literature and History: A Team-Teaching Model","authors":"Richard H. Dammers, E. A. Reitan","doi":"10.1353/RMR.1980.0056","DOIUrl":"https://doi.org/10.1353/RMR.1980.0056","url":null,"abstract":"","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132348763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
sends the reader spinning from Aristotle to Oliver North, Restoration drama to film, body art to Shakespeare, and more. In placing his study in the context of late twentieth-century literary theory and cultural criticism, Blau relies heavily on the work of such figures as Barthes, Benjamin, Foucault, and Lacan (to cite only the most frequently quoted writers); this tendency alone contributes significantly to the book's complexity. The end result is a sometimes brilliant, sometimes mystifying text that some readers may simply find unreadable. Yet Blau's text forces his readers—the book's audience—to test out the very roles for an audience that he attempts to describe. The nature of the book and its theoretical framework make it impossible for Blau to offer definitive conclusions from these meditations. But the book does offer a compelling new analysis of some venerable critical problems. Although Blau often focuses upon traditional dramatic texts from ancient Greece and Renaissance England, his work is especially good in exploring the role of the audience in modern and contemporary drama and in performance art and experimental theatre. Blau's treatment of Bertolt Brecht and Antonin Artaud as precursors of poststructuralism is also insightful: "What has since been elaborated by Foucault and Derrida was more than latent in Brecht and Artaud: there is a sense in which power lives by theater, the duplicity ofmere appearance, by which the audience is deprived of power" (42). Finally, Blau makes some stimulating points about the audience created by the entertainment industry through its endless statistical analyses and its packaging and repackaging of art as a commodity. All in all, The Audience is a fascinating but often an overwhelmingly difficult book to read. Steeped as it is in contemporary critical theory and cultural critique, much of the book is probably not accessible to scholars and teachers of a traditional ilk. Literary scholars may also find the work disappointing since Blau never adequately deals with the connection between audience and readers. Still, the book is an important and insightful contribution to performance theory and cultural criticism.
{"title":"Retired Dreams: Dom Casmurro, Myth and Modernity by Paul B. Dixon (review)","authors":"Susan Canty Quinlan","doi":"10.1353/RMR.1990.0022","DOIUrl":"https://doi.org/10.1353/RMR.1990.0022","url":null,"abstract":"sends the reader spinning from Aristotle to Oliver North, Restoration drama to film, body art to Shakespeare, and more. In placing his study in the context of late twentieth-century literary theory and cultural criticism, Blau relies heavily on the work of such figures as Barthes, Benjamin, Foucault, and Lacan (to cite only the most frequently quoted writers); this tendency alone contributes significantly to the book's complexity. The end result is a sometimes brilliant, sometimes mystifying text that some readers may simply find unreadable. Yet Blau's text forces his readers—the book's audience—to test out the very roles for an audience that he attempts to describe. The nature of the book and its theoretical framework make it impossible for Blau to offer definitive conclusions from these meditations. But the book does offer a compelling new analysis of some venerable critical problems. Although Blau often focuses upon traditional dramatic texts from ancient Greece and Renaissance England, his work is especially good in exploring the role of the audience in modern and contemporary drama and in performance art and experimental theatre. Blau's treatment of Bertolt Brecht and Antonin Artaud as precursors of poststructuralism is also insightful: \"What has since been elaborated by Foucault and Derrida was more than latent in Brecht and Artaud: there is a sense in which power lives by theater, the duplicity ofmere appearance, by which the audience is deprived of power\" (42). Finally, Blau makes some stimulating points about the audience created by the entertainment industry through its endless statistical analyses and its packaging and repackaging of art as a commodity. All in all, The Audience is a fascinating but often an overwhelmingly difficult book to read. Steeped as it is in contemporary critical theory and cultural critique, much of the book is probably not accessible to scholars and teachers of a traditional ilk. Literary scholars may also find the work disappointing since Blau never adequately deals with the connection between audience and readers. Still, the book is an important and insightful contribution to performance theory and cultural criticism.","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132469442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"This Loving Darkness: The Cinema and Spanish Writers 1920-1936 by C.B. Morris (review)","authors":"Dennis West","doi":"10.2307/1347380","DOIUrl":"https://doi.org/10.2307/1347380","url":null,"abstract":"","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130278072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The limited Douglas Sirk renaissance of the 1970s among American film students and German cineastes, promoted by New Wave filmmaker Rainer Werner Fassbinder's 1971 reassessment of the older director (95-106), confirms that the exile position of many Germanspeaking film directors, artists, scenarists, and freelancers active in Southern California after 1933 is widely unappreciated. Neither in Fassbinder's praise nor in German studies, such as Ulrich GregorEnno Patalas' standard Geschichte des Films 1895-1960, is Sirk identified as director Detlef Hans Sierk (also Detlev Sierck) of Central European cinema fame in the 1930s. Similar name changes -director Kurt Bernhardt to Curtis Bernhardt, Hermann Kosterlitz to Henry Koster, composer Franz Wachsmann to Franz Waxman -suggest immediate assimilation of Hitler refugees in their American film haven. And this assimilation more than the German tone and film genre marked their contributions to American filmmaking. The German-speaking exiles' presence was, however, felt in their motifs, formal characteristics, and casting, as well as in directing and acting. During cold wars and open conflicts, there are obvious limits to practically realizing the ideal of an exclusively exile film project, i.e., a film created by German emigre alone. Such independent cinema activity in countries antagonistic to Germany had little chance of succeeding. Who would distinguish exile-German from German Reichs national, or friendly from enemy alien? Successful independent film work by exiles did not even emerge from pre-war locales of German film exile on the continent, from Paris, London, Zurich, and Amsterdam, where German refugees congregated before 1939. The exception appears to be Gustav von Wangenheim's anti-Nazi film Kdmpfer, or Fighters. Its year of production in the U.S.S.R., 1936, preceded World War II. This film profiles Bulgarian Communist George Dimitroff, who nearly reduced Goering to a ranting maniac in 1933 before the Supreme Court of Leipzig when the Nazi leader attempted to implicate the Bulgarian in the Reichstag fire. In Hollywood, the transatlantic center for German film exiles and the Parnassus of German exile literature from 1940 on, a similar production failed to reach the American public. The late and famous German exile playwright Carl Zuckmayer noted that a Hauptmann von Kopenick, or Captain ofKoepenick, remake originated as a totally German exile project. Under the same title, German director Richard
新浪潮电影导演雷纳·沃纳·法斯宾德1971年对老导演(95-106)的重新评价推动了20世纪70年代道格拉斯·西尔克在美国电影学生和德国电影爱好者中的有限复兴，这证实了1933年后活跃在南加州的许多德语电影导演、艺术家、剧作家和自由职业者的流亡地位普遍不受重视。无论是在法斯宾德的赞扬中，还是在德国的研究中，比如乌尔里希·格雷戈里诺·帕塔拉斯的标准《1895-1960年电影研究》中，西尔克都没有被认定为20世纪30年代中欧电影的著名导演Detlef Hans Sierk(也叫Detlev Sierck)。类似的名字变化——导演Kurt Bernhardt变成Curtis Bernhardt, Hermann Kosterlitz变成Henry Koster，作曲家Franz Wachsmann变成Franz Waxman——暗示了希特勒难民在美国电影天堂的迅速同化。这种同化比德国的基调和电影类型更标志着他们对美国电影制作的贡献。然而，讲德语的流亡者的存在，在他们的主题，形式特征，演员，以及导演和表演中都能感受到。在冷战和公开冲突期间，要在实践中实现一个完全由流亡人士创作的电影项目的理想，即一部由德国流放者单独创作的电影，显然是有局限性的。这种独立电影活动在与德国敌对的国家几乎没有成功的机会。谁能区分流亡的德国人和德意志帝国的国民，或者友好的和敌对的外国人?流亡者成功的独立电影作品甚至没有出现在战前德国电影流亡者在欧洲大陆的地点，从巴黎、伦敦、苏黎世和阿姆斯特丹，德国难民聚集在1939年之前。唯一的例外似乎是古斯塔夫·冯·旺根海姆的反纳粹电影《战士》。它在苏联的生产年份是第二次世界大战之前的1936年。这部电影讲述了1933年在莱比锡最高法院前，当纳粹领导人试图将保加利亚人与国会大厦大火联系起来时，保加利亚共产党人乔治·迪米特洛夫几乎把戈林变成了一个咆哮的疯子。好莱坞是德国流亡者的跨大西洋中心，也是1940年以来德国流亡者文学的帕纳萨斯(Parnassus)，类似的作品未能进入美国公众。已故著名的德国流亡剧作家卡尔·祖克迈耶指出，《科普尼克的上尉》的翻拍完全是源于德国的流亡计划。同名之下，德国导演理查德
{"title":"German Hollywood Presence and Parnassus: Central European Exiles and American Filmmaking","authors":"Hans-Bernhard Moeller","doi":"10.2307/1347327","DOIUrl":"https://doi.org/10.2307/1347327","url":null,"abstract":"The limited Douglas Sirk renaissance of the 1970s among American film students and German cineastes, promoted by New Wave filmmaker Rainer Werner Fassbinder's 1971 reassessment of the older director (95-106), confirms that the exile position of many Germanspeaking film directors, artists, scenarists, and freelancers active in Southern California after 1933 is widely unappreciated. Neither in Fassbinder's praise nor in German studies, such as Ulrich GregorEnno Patalas' standard Geschichte des Films 1895-1960, is Sirk identified as director Detlef Hans Sierk (also Detlev Sierck) of Central European cinema fame in the 1930s. Similar name changes -director Kurt Bernhardt to Curtis Bernhardt, Hermann Kosterlitz to Henry Koster, composer Franz Wachsmann to Franz Waxman -suggest immediate assimilation of Hitler refugees in their American film haven. And this assimilation more than the German tone and film genre marked their contributions to American filmmaking. The German-speaking exiles' presence was, however, felt in their motifs, formal characteristics, and casting, as well as in directing and acting. During cold wars and open conflicts, there are obvious limits to practically realizing the ideal of an exclusively exile film project, i.e., a film created by German emigre alone. Such independent cinema activity in countries antagonistic to Germany had little chance of succeeding. Who would distinguish exile-German from German Reichs national, or friendly from enemy alien? Successful independent film work by exiles did not even emerge from pre-war locales of German film exile on the continent, from Paris, London, Zurich, and Amsterdam, where German refugees congregated before 1939. The exception appears to be Gustav von Wangenheim's anti-Nazi film Kdmpfer, or Fighters. Its year of production in the U.S.S.R., 1936, preceded World War II. This film profiles Bulgarian Communist George Dimitroff, who nearly reduced Goering to a ranting maniac in 1933 before the Supreme Court of Leipzig when the Nazi leader attempted to implicate the Bulgarian in the Reichstag fire. In Hollywood, the transatlantic center for German film exiles and the Parnassus of German exile literature from 1940 on, a similar production failed to reach the American public. The late and famous German exile playwright Carl Zuckmayer noted that a Hauptmann von Kopenick, or Captain ofKoepenick, remake originated as a totally German exile project. Under the same title, German director Richard","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130443319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I. B. Jonas's detailed study of Italy's influence on Thomas Mann and the German author's influence on Italian literature maximizes the southern country's importance to the northern novelist and viceversa. The work is divided into five chapters — Mann's Encounters with the Italian World, Reflections of Italy in Mann's Works, Mann's Influence on Italian Literature, and Results of the Investigation of Mann's Relationship with Italy — followed by a chronological table of Mann's trips to Italy, extensive notes, a useful bibliography, an index of persons, and eight pages of photographs. From 1895 to 1954 Mann made over twenty separate trips to Italy. His initial reaction to the colorful Italian scene was reserved, but his reserve gradually turned into a fascination with the Latin culture. In Death in Venice, as in the earlier novella Tonio Kroger and the sketch Gladius Dei, the south comes to represent sensuality and the north asceticism. An Italian setting is absent from The Magic Mountain, but the figure of Lodovico Settembrini (undoubtedly based on the historical Luigi Settembrini) introduces the motif of Italian liberalism and humanism. Settembrini's admiration for Carducci, Mazzini, and Garibaldi and his references to Dante, Petrarch, Brunetto Latini, Pietro Aretino, and Giacomo Leopardi testify to Mann's familiarity with Italian literature. In Mario and the Magician the scene is once again Italian, and the author's anti-Fascist sentiments are in the foreground; the character Cipolla, furthermore, is modelled on Boccaccio's Frate Cipolla. Adrian Leverkühn, in Doctor Faustus, travels to Italy in search of freedom. In this and all Mann's works containing descriptions of Italy the author draws on his personal recollections to capture the southern scenes. Until Mann received the 1929 Nobel Prize, Italian interest in him was minimal. In the 1930's and 1940's Lavinia Mazzucchetti, Italy's chief Mann scholar, was most responsible for directing southern attention to the German writer. In 1952 Mann received the Feltrinelli Prize. Italian literature of our era has taken French and American authors as models, but the German traditions has rarely exerted extensive influence over Italy. Jonas's main contribution is her demonstration that Italian influence on Mann was much greater than previously thought.
{"title":"Thomas Mann and Italy by Ilsedore B. Jonas (review)","authors":"Madison U. Sowell","doi":"10.1353/RMR.1980.0051","DOIUrl":"https://doi.org/10.1353/RMR.1980.0051","url":null,"abstract":"I. B. Jonas's detailed study of Italy's influence on Thomas Mann and the German author's influence on Italian literature maximizes the southern country's importance to the northern novelist and viceversa. The work is divided into five chapters — Mann's Encounters with the Italian World, Reflections of Italy in Mann's Works, Mann's Influence on Italian Literature, and Results of the Investigation of Mann's Relationship with Italy — followed by a chronological table of Mann's trips to Italy, extensive notes, a useful bibliography, an index of persons, and eight pages of photographs. From 1895 to 1954 Mann made over twenty separate trips to Italy. His initial reaction to the colorful Italian scene was reserved, but his reserve gradually turned into a fascination with the Latin culture. In Death in Venice, as in the earlier novella Tonio Kroger and the sketch Gladius Dei, the south comes to represent sensuality and the north asceticism. An Italian setting is absent from The Magic Mountain, but the figure of Lodovico Settembrini (undoubtedly based on the historical Luigi Settembrini) introduces the motif of Italian liberalism and humanism. Settembrini's admiration for Carducci, Mazzini, and Garibaldi and his references to Dante, Petrarch, Brunetto Latini, Pietro Aretino, and Giacomo Leopardi testify to Mann's familiarity with Italian literature. In Mario and the Magician the scene is once again Italian, and the author's anti-Fascist sentiments are in the foreground; the character Cipolla, furthermore, is modelled on Boccaccio's Frate Cipolla. Adrian Leverkühn, in Doctor Faustus, travels to Italy in search of freedom. In this and all Mann's works containing descriptions of Italy the author draws on his personal recollections to capture the southern scenes. Until Mann received the 1929 Nobel Prize, Italian interest in him was minimal. In the 1930's and 1940's Lavinia Mazzucchetti, Italy's chief Mann scholar, was most responsible for directing southern attention to the German writer. In 1952 Mann received the Feltrinelli Prize. Italian literature of our era has taken French and American authors as models, but the German traditions has rarely exerted extensive influence over Italy. Jonas's main contribution is her demonstration that Italian influence on Mann was much greater than previously thought.","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134037836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"White Writing: On the Culture of Letters in South Africa by J. M. Coetzee (review)","authors":"Barbara Temple-Thurston","doi":"10.1353/RMR.1989.0019","DOIUrl":"https://doi.org/10.1353/RMR.1989.0019","url":null,"abstract":"","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"509 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134262929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
(New York: Dell Publishing Company, 1976. 445 pages, $225.) When I suggested to a friend that she consider Bitches and Sad Ladies for a course in contemporary women writers, she sighed, "I'd never get it past my curriculum committee with a tide like that." While I deplore such lexical prudery (and the committee would presumably be even more indignant at the language in many of the stories, especially coming from female writers), the phrase is not felicitous, particularly because the stories concern women who are too fully human to be simplistically labeled. Pat Rotter begins her brief preface by defining a bitch as "a woman who takes care of herself and seeks her identity from within," while a sad lady "needs to be taken care of" and destroys herself by wanting "to bury herself in a man." Most of the main characters are a blend of both, and more.
{"title":"Bitches and Sad Ladies: An Anthology of Fiction by and About Women by Pat Rotter (review)","authors":"Lois A. Marchino","doi":"10.1353/RMR.1977.0025","DOIUrl":"https://doi.org/10.1353/RMR.1977.0025","url":null,"abstract":"(New York: Dell Publishing Company, 1976. 445 pages, $225.) When I suggested to a friend that she consider Bitches and Sad Ladies for a course in contemporary women writers, she sighed, \"I'd never get it past my curriculum committee with a tide like that.\" While I deplore such lexical prudery (and the committee would presumably be even more indignant at the language in many of the stories, especially coming from female writers), the phrase is not felicitous, particularly because the stories concern women who are too fully human to be simplistically labeled. Pat Rotter begins her brief preface by defining a bitch as \"a woman who takes care of herself and seeks her identity from within,\" while a sad lady \"needs to be taken care of\" and destroys herself by wanting \"to bury herself in a man.\" Most of the main characters are a blend of both, and more.","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131557417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Female Adolescence: Psychoanalytic Reflections on Literature by Katherine Dalsimer (review)","authors":"Lois A. Marchino","doi":"10.1353/RMR.1987.0048","DOIUrl":"https://doi.org/10.1353/RMR.1987.0048","url":null,"abstract":"","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132970645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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