Pub Date : 2023-03-01DOI: 10.1353/itx.2023.a907253
David Sigler
Echoes of Romanticism and Expatriate Englishness in Charlotte Brontë's The Professor David Sigler Charlotte Brontë's many debts to Romanticism, and especially Lord Byron, are a well-known feature of her fiction. Yet only recently has this become an important part of the discussion surrounding The Professor, her first-written and last-published novel. The novel, written between 1844 and 1846 and published posthumously in 1857, is increasingly seen to be in dialogue with William Wordsworth and Walter Scott, in addition to Byron. Anna Barton, seeing Brontë as "the pupil of Wordsworthian Romanticism" and "a daughter of Romanticism," shows how The Professor develops "intertextual exchanges that perform the failure of the Romantic lyric within the Victorian novel."1 Tanya Llewellyn has argued that the protagonist William Crimsworth, seemingly influenced by Byron's Turkish tales, Orientalizes the women in his life as a way to manage sexual threats.2 Mandy Swann, meanwhile, sees in Brontë's early work an ambivalent response to the Romantic figure of the poet-prophet, as part of the author's general struggle, early in her career, to theorize female creativity.3 Yet in other recent accounts, William Crimsworth seems to be as un-Byronic and un-Wordsworthian as possible. Crimsworth has been said to be a "particularly off-putting" narrator, "defensive and humourless," whose "dubious masculinity," passionlessness, and, in one reading, stiflingly repressed homosexuality render him a comically overliteral thinker.4 I will suggest that this incapacity in him for meaningful human engagement is what leads him to fixate on British Romantic poetry as a solution, however backhanded, to his erotic and professional difficulties. [End Page 30] Yet as the echoes of Romanticism that haunt his erotic and professional relations quickly take on lives of their own, they enable the story, and its ethical vision, to exceed William's control. Once the novel directs its protagonist's obsessive personality in the direction of Romantic poetry, it can become an intriguing meditation on ethics, expatriate Englishness, and time. William Crimsworth is a hardworking Englishman living and working in Brussels. The city, which William finds too "cosmopolitan," becomes the site of his zealous self-exploration as he mingles, ever defensively, with the locals.5 Approaching the city like "a morning traveller," as he puts it, William must analyze his foreignness if he is to survive his own residual and aspirational Englishness.6 The phrase "morning traveller" is drawn from Robert Southey's 1798 poem "The Traveller's Return," which describes love as an echo-effect. It is a very auditory poem: Southey's "morning traveller" spends the day listening to unfamiliar sounds, until, in the evening, he hears a "distant sheep-bell," which teaches him that "sweetest is the voice of Love / That welcomes his return."7 A sheep bell is, of course, a tracking mechanism, facilitating the free movement and eventua
{"title":"Echoes of Romanticism and Expatriate Englishness in Charlotte Brontë's The Professor","authors":"David Sigler","doi":"10.1353/itx.2023.a907253","DOIUrl":"https://doi.org/10.1353/itx.2023.a907253","url":null,"abstract":"Echoes of Romanticism and Expatriate Englishness in Charlotte Brontë's The Professor David Sigler Charlotte Brontë's many debts to Romanticism, and especially Lord Byron, are a well-known feature of her fiction. Yet only recently has this become an important part of the discussion surrounding The Professor, her first-written and last-published novel. The novel, written between 1844 and 1846 and published posthumously in 1857, is increasingly seen to be in dialogue with William Wordsworth and Walter Scott, in addition to Byron. Anna Barton, seeing Brontë as \"the pupil of Wordsworthian Romanticism\" and \"a daughter of Romanticism,\" shows how The Professor develops \"intertextual exchanges that perform the failure of the Romantic lyric within the Victorian novel.\"1 Tanya Llewellyn has argued that the protagonist William Crimsworth, seemingly influenced by Byron's Turkish tales, Orientalizes the women in his life as a way to manage sexual threats.2 Mandy Swann, meanwhile, sees in Brontë's early work an ambivalent response to the Romantic figure of the poet-prophet, as part of the author's general struggle, early in her career, to theorize female creativity.3 Yet in other recent accounts, William Crimsworth seems to be as un-Byronic and un-Wordsworthian as possible. Crimsworth has been said to be a \"particularly off-putting\" narrator, \"defensive and humourless,\" whose \"dubious masculinity,\" passionlessness, and, in one reading, stiflingly repressed homosexuality render him a comically overliteral thinker.4 I will suggest that this incapacity in him for meaningful human engagement is what leads him to fixate on British Romantic poetry as a solution, however backhanded, to his erotic and professional difficulties. [End Page 30] Yet as the echoes of Romanticism that haunt his erotic and professional relations quickly take on lives of their own, they enable the story, and its ethical vision, to exceed William's control. Once the novel directs its protagonist's obsessive personality in the direction of Romantic poetry, it can become an intriguing meditation on ethics, expatriate Englishness, and time. William Crimsworth is a hardworking Englishman living and working in Brussels. The city, which William finds too \"cosmopolitan,\" becomes the site of his zealous self-exploration as he mingles, ever defensively, with the locals.5 Approaching the city like \"a morning traveller,\" as he puts it, William must analyze his foreignness if he is to survive his own residual and aspirational Englishness.6 The phrase \"morning traveller\" is drawn from Robert Southey's 1798 poem \"The Traveller's Return,\" which describes love as an echo-effect. It is a very auditory poem: Southey's \"morning traveller\" spends the day listening to unfamiliar sounds, until, in the evening, he hears a \"distant sheep-bell,\" which teaches him that \"sweetest is the voice of Love / That welcomes his return.\"7 A sheep bell is, of course, a tracking mechanism, facilitating the free movement and eventua","PeriodicalId":33860,"journal":{"name":"Cultural Intertexts","volume":"127 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532889","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}
Pub Date : 2023-03-01DOI: 10.1353/itx.2023.a907255
Tegan Zimmerman
Facebook + Feminism + CartesianismResurrecting "the Ghost in the Machine" Tegan Zimmerman "The feminist 'we' is always and only a phantasmatic construction" but this "is not cause for despair or, at least, it is not only cause for despair. The radical instability of the category sets into question the foundational restrictions on feminist political theorizing and opens up other configurations, not only of genders and bodies, but of politics itself" —judith butler, gender trouble: feminism and the subversion of identity A specter is haunting online feminisms: the specters of René Descartes. Descartes' dualism theory, which purports a distinction between embodiment (body) and disembodiment (mind), rears its ghostly head when considering the context of digital culture, especially digital feminisms. The legacy of Cartesianism manifests in our digital interactions, which encourage accepting minds as superior and separate from bodies; in our neoliberal culture, particularly when it comes to highly individualized identity politics, this Cartesian move significantly impacts power structures and the way feminists think about (dis)embodiment. Prominent and wide-ranging feminist (e.g., Butler 1990/2006, 1997; Bordo 1992, 1999; Gatens 1996; Braidotti 2002) critiques of Cartesianism were especially influential in the late twentieth century, and today scholarship examining and troubling mind-body dualisms in digital media environments is readily found, e.g., Katie Warfield's "MirrorCameraRoom: The Gendered Multi-(in)stabilities of the Selfie" (2017) or Megan Boler's much-cited "Hypes, Hopes, and Actualities: New Digital Cartesianism and Bodies in Cyberspace" (2007). [End Page 81] Feminist criticism theorizing Cartesianism in relation to Facebook specifically, however, is understudied. The goal of this article, then, is to bring Descartes' cogito, which is infrequently referenced explicitly in social media literature, into conversation with feminist scholarship on Facebook and feminist political discourses on (dis)embodiment. As feminist media scholars (Turkle 2011; Colebrook 2014; Crossley 2015, 2017; Baer 2016; McLean, Maalsen, and Grech 2016; Megarry 2017; Pruchniewska 2017) contend, activity on social media like Facebook constitutes an important part of folx's everyday feminism, and the number of people turning to the virtual realm as a medium for political identity, subjectivity, and activity is increasing. Among the many platforms of social media used by feminists, Facebook is particularly advantageous because of its unique Groups category. In this article, I concentrate on a closed member, feminist Facebook group called Feminist X, and I attribute its problems—the intense monitoring of posts for a certain kind of individualized identity politics, an aggressive call-out culture, hostility toward and disparagement of opposing viewpoints, paradoxical assertions and disavowals of users as embodied or disembodied, and members frequently leaving the group for
{"title":"Facebook + Feminism + Cartesianism: Resurrecting \"the Ghost in the Machine\"","authors":"Tegan Zimmerman","doi":"10.1353/itx.2023.a907255","DOIUrl":"https://doi.org/10.1353/itx.2023.a907255","url":null,"abstract":"Facebook + Feminism + CartesianismResurrecting \"the Ghost in the Machine\" Tegan Zimmerman \"The feminist 'we' is always and only a phantasmatic construction\" but this \"is not cause for despair or, at least, it is not only cause for despair. The radical instability of the category sets into question the foundational restrictions on feminist political theorizing and opens up other configurations, not only of genders and bodies, but of politics itself\" —judith butler, gender trouble: feminism and the subversion of identity A specter is haunting online feminisms: the specters of René Descartes. Descartes' dualism theory, which purports a distinction between embodiment (body) and disembodiment (mind), rears its ghostly head when considering the context of digital culture, especially digital feminisms. The legacy of Cartesianism manifests in our digital interactions, which encourage accepting minds as superior and separate from bodies; in our neoliberal culture, particularly when it comes to highly individualized identity politics, this Cartesian move significantly impacts power structures and the way feminists think about (dis)embodiment. Prominent and wide-ranging feminist (e.g., Butler 1990/2006, 1997; Bordo 1992, 1999; Gatens 1996; Braidotti 2002) critiques of Cartesianism were especially influential in the late twentieth century, and today scholarship examining and troubling mind-body dualisms in digital media environments is readily found, e.g., Katie Warfield's \"MirrorCameraRoom: The Gendered Multi-(in)stabilities of the Selfie\" (2017) or Megan Boler's much-cited \"Hypes, Hopes, and Actualities: New Digital Cartesianism and Bodies in Cyberspace\" (2007). [End Page 81] Feminist criticism theorizing Cartesianism in relation to Facebook specifically, however, is understudied. The goal of this article, then, is to bring Descartes' cogito, which is infrequently referenced explicitly in social media literature, into conversation with feminist scholarship on Facebook and feminist political discourses on (dis)embodiment. As feminist media scholars (Turkle 2011; Colebrook 2014; Crossley 2015, 2017; Baer 2016; McLean, Maalsen, and Grech 2016; Megarry 2017; Pruchniewska 2017) contend, activity on social media like Facebook constitutes an important part of folx's everyday feminism, and the number of people turning to the virtual realm as a medium for political identity, subjectivity, and activity is increasing. Among the many platforms of social media used by feminists, Facebook is particularly advantageous because of its unique Groups category. In this article, I concentrate on a closed member, feminist Facebook group called Feminist X, and I attribute its problems—the intense monitoring of posts for a certain kind of individualized identity politics, an aggressive call-out culture, hostility toward and disparagement of opposing viewpoints, paradoxical assertions and disavowals of users as embodied or disembodied, and members frequently leaving the group for ","PeriodicalId":33860,"journal":{"name":"Cultural Intertexts","volume":"179 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532893","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}
Pub Date : 2023-03-01DOI: 10.1353/itx.2023.a907252
Theresa M. Dipasquale
Contemporary IlluminationsReading Donne's "A Nocturnall upon S. Lucies Day through Three Twenty-First-Century Poems Theresa M. Dipasquale In his contribution to the 2017 volume John Donne and Contemporary Poetry, edited by Judith Scherer Herz, Jonathan F. S. Post explores "a nearly endless landscape of comparisons and contrasts" that unfolds between Stephen Edgar's 2008 poem "Nocturnal" and Donne's "A nocturnall upon S. Lucies day, Being the shortest day."1 Post's essay illuminates what Calvin Bedient, in the same volume, calls the "great glacier-gloom" of Donne's "Nocturnall," its devastated "solemnity."2 In doing so, Post renders largely moot many questions that have preoccupied critics of Donne's poem: whether or how this poem reflects Donne's experience; whether the woman lamented by the speaker is a fiction or a historical person lamented by the poet; and if the latter, whether the poem mourns the 1617 death of John Donne's wife, Anne More Donne; the 1627 death of Donne's patroness Lucy, Countess of Bedford; or the Countess' near-fatal illness in 1612–13.3 These biographical and historical questions are not without value, but they draw the critic's attention away from more compelling questions regarding the "I" of the poem—a persona who claims not to be a person at all, but an inscription, a grave, "A quintessence" derived or "expresse[d]/ . . . even from nothingnesse."4 In this article, I widen and intensify the pool of light cast on Donne's "Nocturnall" by Post's presentist and intertextual analysis of Edgar's poem, examining three of the many other twenty-first-century poems that tap into Donne's poem, allude to it, quote it, adopt its structure, or respond to the anguish it expresses.5 Each of the three I discuss is [End Page 1] luminous in its own right but also a potent critical response to Donne's five-stanza poem. Each teaches something different about Donne's lyric. The poets whose work I consider—Liz Lochhead, Jay Wright, and Meena Alexander—all address twenty-first-century concerns; they grapple with questions and sorrows beyond the scope of Donne's conscious imagining yet latent in his poem. Each picks up where critics leave off when they "assume," as Alison R. Rieke notes, "that the speaker . . . is a husband or lover, possibly Donne, who experiences grief upon his wife's or mistress' death."6 Each takes up the challenge that Donne's persona issues when it denies that it is either "a man" (30) or any other living thing. In the first stanza of "A Nocturnall upon S. Lucies Day," this anti-persona observes that "all" other things around it are "Dead and enterr'd" and "yet" that "all these seeme to laugh, / Compar'd with mee, who am their Epitaph" (8–9). If it is an incised text rather than a human being, the poem's "mee" can no more speak than laugh; it is as silent as the grave it marks or as the dead flesh interred there. Indeed, it goes on to claim that it is "every dead thing" and that love's alchemical "art" has "expresse[d] /
在2017年由朱迪思·谢勒·赫兹编辑的《约翰·多恩与当代诗歌》一书中，乔纳森·f·s·波斯特探索了斯蒂芬·埃德加2008年的诗歌《夜行》和多恩的《露西日的夜行，是最短的一天》之间“几乎无穷无尽的比较和对比”。波斯特的文章阐释了加尔文·贝迪恩特(Calvin Bedient)在同一卷书中所说的多恩的《夜曲》(nightturnall)中“巨大的冰川忧郁”，以及它被摧毁的“庄严”。在这样做的过程中，波斯特在很大程度上提出了许多问题，这些问题一直困扰着多恩这首诗的批评者:这首诗是否或如何反映了多恩的经历;讲话者所悲叹的女人是虚构的还是诗人所悲叹的历史人物;如果是后者，这首诗是否哀悼1617年约翰·多恩的妻子安妮·莫尔·多恩;1627年多恩的女保护人贝德福德伯爵夫人露西之死;这些传记和历史问题并非没有价值，但它们把评论家的注意力从关于诗歌的“我”的更引人注目的问题上引开了——一个声称根本不是一个人的人，而是一个铭文，一个坟墓，“一个精华”衍生或“表达……”甚至从无到有。4在这篇文章中，我通过波斯特对埃德加诗歌的现世主义和互文分析，扩大和加强了对多恩的《夜之夜》的研究，考察了21世纪许多其他诗歌中的三首，这些诗歌利用了多恩的诗歌，暗指它，引用它，采用它的结构，或者回应它所表达的痛苦我所讨论的三首诗中的每一首都有自己的长处，但同时也是对多恩的五节诗的有力回应。每个人都能从多恩的歌词中学到不同的东西。我所考虑的诗人的作品——丽兹·洛克黑德、杰伊·赖特和米娜·亚历山大——都是针对21世纪的问题;他们与问题和悲伤作斗争，这些问题和悲伤超出了多恩有意识想象的范围，但却潜藏在他的诗中。正如艾莉森·r·里克(Alison R. Rieke)所指出的那样，每个人都继承了批评者“假设”的地方，“演讲者……是一个丈夫或情人，可能是多恩，他在妻子或情妇去世后经历了悲伤。当多恩否认自己是“一个人”或任何其他生物时，每个人都接受了多恩角色所带来的挑战。在《露西节的夜曲》的第一节中，这个反角色观察到周围的“所有”其他事物都是“死亡和进入”和“然而”，“所有这些似乎都在笑，/与我相比，我是他们的墓志铭”(8-9)。如果它是一段文字而不是一个人，诗中的“mee”既不能说话也不能笑;它就像它所标记的坟墓或埋葬在那里的死人一样寂静。事实上，它继续声称它是“每一个死的东西”，爱的炼金术“艺术”已经“表达了一种精华”，甚至从这一团无生命的物体中，这种“虚无”(12,14 - 15)。挣扎着定义其反本质的本质，它宣称自己是一个大规模的埋葬地点:“我，爱林贝克，是坟墓/所有的，那什么都不是”(21-22)。墓志铭，死去的东西，虚无，坟墓:所有这些都是沉默的。然而，在多恩的诗中，他们极力主张自己不存在;他们有一种自相矛盾的自我感觉。在第一节最后一行的“compare’d with mee”之后，读者在这首诗的45行诗中又遇到了16个第一人称单数的例子:“my”出现了一次，“mee”出现了5次，“I”出现了11次。而“我”则向读者发出了一个指令:在第二节的开头一行命令道:“那么，你这爱我的人，研究我吧。”但是那些服从这个命令的人，让自己成为诗中铭刻的虚无的学生，发现自己在诗的最后一节被解雇了。坚持认为它的“太阳”永远不会“更新……
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Pub Date : 2023-03-01DOI: 10.1353/itx.2023.a907254
Lee Spinks
The Names Alive Are Like the Names in GravesBlack Life and Black Social Death in Terrance Hayes's American Sonnets for My Past and Future Assassin Lee Spinks "After blackness was invented / people began seeing ghosts."1 One of the most powerful and provoking responses to the political rise of Donald Trump appeared with the 2018 publication of Terrance Hayes's American Sonnets for My Past and Future Assassin. Hayes began writing these poems straight after Trump's remarkable triumph in the 2016 presidential election, and they race to keep pace with the rapidly metastasizing effects of the Trump phenomenon, from his relentless radicalization of the modes and mores of political speech ("Newshounds ponder the tweets of a bullhorn"), his continuous assault on American democratic institutions, and his singular success in marshalling a newly cohesive political constituency seduced by the reactionary allure of resurgent white nationalism or what Hayes caustically calls "a mandate for whiteness, virility, sovereignty / stupidity" (AS: 38).2 As the phrase "mandate for whiteness" suggests, integral to the story of Trump's ascendancy in American Sonnets is another story, a story about race and social authority in the time of Black Lives Matter when blackness remains "the color of this country's current threat / advisory" (AS: 10). At home and abroad the appalling incandescence of Hayes's contemporary American political moment is reflected by the names of its black victims, names like Trayvon Martin, Michael Brown, Tamir Rice, and, perhaps most explosively of all, George Floyd, whose May 2020 police killing on a Minneapolis street reprised such a familiar configuration of racial power that Hayes had already glimpsed its spectral outline two years earlier: "A [End Page 60] brother has to know how to time travel & doctor / himself when a knee or shoe stalls against his neck" (AS: 77).3 Without compromising the intensity of Hayes's focus on this contemporary social emergency, I want in what follows to expand our sense of the historical and metaphysical scene of his writing by reading it as an imaginative response to a larger and more fundamental question: What does it mean to live a black life in an antiblack world? I'm moved to do so by the double register of his writing vividly exemplified by the penultimate sonnet in the sequence which memorializes "All the black people I'm tired of losing / All the dead from parts of Florida, Ferguson / Brooklyn, Charleston, Cleveland, Chicago / Baltimore, where the names alive are / Like the names in graves" (AS: 81). What's remarkable, to my mind at least, about the phrase "the names alive are / like the names in graves" is its fusion of a directly contemporary perception of the precariousness of black existence within a culture of white supremacy (the perception that every black life could share the social fate of Tamir Rice at any particular moment) with an encompassing metaphysical vision of blackness as the embodiment o
{"title":"The Names Alive Are Like the Names in Graves: Black Life and Black Social Death in Terrance Hayes's American Sonnets for My Past and Future Assassin","authors":"Lee Spinks","doi":"10.1353/itx.2023.a907254","DOIUrl":"https://doi.org/10.1353/itx.2023.a907254","url":null,"abstract":"The Names Alive Are Like the Names in GravesBlack Life and Black Social Death in Terrance Hayes's American Sonnets for My Past and Future Assassin Lee Spinks \"After blackness was invented / people began seeing ghosts.\"1 One of the most powerful and provoking responses to the political rise of Donald Trump appeared with the 2018 publication of Terrance Hayes's American Sonnets for My Past and Future Assassin. Hayes began writing these poems straight after Trump's remarkable triumph in the 2016 presidential election, and they race to keep pace with the rapidly metastasizing effects of the Trump phenomenon, from his relentless radicalization of the modes and mores of political speech (\"Newshounds ponder the tweets of a bullhorn\"), his continuous assault on American democratic institutions, and his singular success in marshalling a newly cohesive political constituency seduced by the reactionary allure of resurgent white nationalism or what Hayes caustically calls \"a mandate for whiteness, virility, sovereignty / stupidity\" (AS: 38).2 As the phrase \"mandate for whiteness\" suggests, integral to the story of Trump's ascendancy in American Sonnets is another story, a story about race and social authority in the time of Black Lives Matter when blackness remains \"the color of this country's current threat / advisory\" (AS: 10). At home and abroad the appalling incandescence of Hayes's contemporary American political moment is reflected by the names of its black victims, names like Trayvon Martin, Michael Brown, Tamir Rice, and, perhaps most explosively of all, George Floyd, whose May 2020 police killing on a Minneapolis street reprised such a familiar configuration of racial power that Hayes had already glimpsed its spectral outline two years earlier: \"A [End Page 60] brother has to know how to time travel & doctor / himself when a knee or shoe stalls against his neck\" (AS: 77).3 Without compromising the intensity of Hayes's focus on this contemporary social emergency, I want in what follows to expand our sense of the historical and metaphysical scene of his writing by reading it as an imaginative response to a larger and more fundamental question: What does it mean to live a black life in an antiblack world? I'm moved to do so by the double register of his writing vividly exemplified by the penultimate sonnet in the sequence which memorializes \"All the black people I'm tired of losing / All the dead from parts of Florida, Ferguson / Brooklyn, Charleston, Cleveland, Chicago / Baltimore, where the names alive are / Like the names in graves\" (AS: 81). What's remarkable, to my mind at least, about the phrase \"the names alive are / like the names in graves\" is its fusion of a directly contemporary perception of the precariousness of black existence within a culture of white supremacy (the perception that every black life could share the social fate of Tamir Rice at any particular moment) with an encompassing metaphysical vision of blackness as the embodiment o","PeriodicalId":33860,"journal":{"name":"Cultural Intertexts","volume":"201 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135533126","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":"Bilingual Aesthetics: A New Sentimental Education by Doris Sommer (review)","authors":"B. Hernández","doi":"10.1353/itx.2006.0005","DOIUrl":"https://doi.org/10.1353/itx.2006.0005","url":null,"abstract":"","PeriodicalId":33860,"journal":{"name":"Cultural Intertexts","volume":"192 1","pages":"181 - 183"},"PeriodicalIF":0.0,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79144330","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":"The (In)significance: “What the age might call sodomy” and Homosexuality in Certain Studies of Shakespeare’s Plays","authors":"Joseph Pequigney","doi":"10.1353/itx.2004.0003","DOIUrl":"https://doi.org/10.1353/itx.2004.0003","url":null,"abstract":"","PeriodicalId":33860,"journal":{"name":"Cultural Intertexts","volume":"22 1","pages":"117 - 134"},"PeriodicalIF":0.0,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85936350","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":"Political Meta-Allegory in El Divino Narciso by Sor Juana Inés de la Cruz","authors":"Verónica Grossi","doi":"10.1353/itx.1997.0018","DOIUrl":"https://doi.org/10.1353/itx.1997.0018","url":null,"abstract":"","PeriodicalId":33860,"journal":{"name":"Cultural Intertexts","volume":"104 1","pages":"103 - 92"},"PeriodicalIF":0.0,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80536653","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":"Filles Perdues? French Narrative in Search of the Maternal","authors":"J. D. De Pree","doi":"10.1353/itx.2001.0010","DOIUrl":"https://doi.org/10.1353/itx.2001.0010","url":null,"abstract":"","PeriodicalId":33860,"journal":{"name":"Cultural Intertexts","volume":"78 1","pages":"23 - 31"},"PeriodicalIF":0.0,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77881378","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}
Pub Date : 2022-03-16DOI: 10.1215/00029831-80-1-194-c
H. Salazar
{"title":"Josefina Niggli, Mexican American Writer: A Critical Biography by Elizabeth Coonrod Martínez (review)","authors":"H. Salazar","doi":"10.1215/00029831-80-1-194-c","DOIUrl":"https://doi.org/10.1215/00029831-80-1-194-c","url":null,"abstract":"","PeriodicalId":33860,"journal":{"name":"Cultural Intertexts","volume":"86 1","pages":"175 - 177"},"PeriodicalIF":0.0,"publicationDate":"2022-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84716496","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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