Pub Date : 2016-10-08DOI: 10.1215/00659142-2398577
Karen S. H. Roggenkamp
While the year brings fewer book-length publications on Nathaniel Hawthorne, numerous articles and book chapters make significant contributions to the already voluminous scholarship devoted to his work. Criticism focusing on The Scarlet Letter and The Marble Faun dominates, and queer readings of various texts appear alongside deliberations featuring transatlanticism and aesthetics. Additionally, a special issue of the Nathaniel Hawthorne Review (38, ii) adds color and texture to a portrait of the Gothic Hawthorne. (The essays in this issue are discussed individually below.)
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Pub Date : 2016-10-08DOI: 10.1215/00659142-6685234
Alec Marsh, Patrick R. Query
a. Research Resource: The Ezra Pound Society, under the active leadership of Roxana Preda, now provides a central resource for Pound scholars (ezrapoundsociety.org). This new platform includes a quarterly newsletter, Make It New, already a major venue for Pound. Complete primary and secondary bibliographies are now under way and will feature online reproduction of the long-out-of-print Garland three-volume Complete Poetry and Prose. Volume 1 is now complete, and annotation is well begun.
a.研究资源:在Roxana Preda的积极领导下，庞德协会现在为庞德学者提供了一个中心资源(ezrapoundsociety.org)。这个新平台包括季度通讯，Make It new，这已经是庞德的主要场所。完整的主要和次要参考书目现在正在进行中，并将在网上复制久已绝版的加兰三卷本《诗文全集》。第1卷现在已经完成，注释工作已经开始。
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Pub Date : 2016-10-08DOI: 10.1215/00659142-1155175
S. Daugherty
Even during times of adversity within and beyond academe, scholarship on Henry James has continued to flourish, thanks to projects that confirm the enduring human interest of his life and works. The latest volume of The Complete Letters illuminates his literary success and his family relations, while a recent anthology sponsored by the European Society of Jamesian Studies presents duplicity not only as a moral and ethical failing but also as an inescapable condition of identity and language. In addition, historical critics explore numerous parallels between James’s world and our own. In a new book Miranda El-Rayess charts the author’s ambivalent responses to a growing consumer culture, and John Carlos Rowe has edited a collection—aptly titled Henry James Today— focused on current constructions of modernism and postmodernism. Most tellingly, perhaps, James’s writings suggest the perils and prospects of a future in which technology will continue to multiply global connections. A cluster of essays on the author’s late style (the subject of a special issue of the Henry James Review) underscores a paradox: an idiosyncratic signature, it also demonstrates his receptivity to other voices and media.
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Pub Date : 2015-10-07DOI: 10.1215/00659142-2009-009
S. Daugherty
Though humanities scholars may feel neglected as universities promote science and technology, studies of Henry James continue to flourish. His status as an international author has been enhanced by the formation of the European Society of Jamesian Studies, which joins the US-based Henry James Society in sponsoring well-attended conferences resulting in anthologies that highlight a range of critical approaches. Monographs on single authors are less common than they used to be, but an excellent book by Daniel Hannah illustrates how a familiar topic—James and impressionism—can be revitalized by a creative synthesis of close reading and historical research. “Art lives upon discussion . . . , upon the exchange of views and the comparison of standpoints,” wrote James in “The Art of Fiction,” and his endorsement of multiple perspectives has secured his position in today’s classrooms. Key texts of the moment are The Ambassadors and “The Beast in the Jungle,” which have elicited readings raising larger issues of interpretive validity concerning ambiguous representations of men who resist marriage. Brief biographies by Hazel Hutchison and J. C. Hallman, as well as some inviting paperback editions, are designed to make James more accessible to students and general readers.
虽然人文学者可能会因为大学提倡科学技术而感到被忽视，但对亨利·詹姆斯的研究仍在蓬勃发展。欧洲詹姆斯研究学会的成立提高了他作为一名国际作家的地位，该学会与美国的亨利·詹姆斯学会一起赞助了出席人数众多的会议，从而出版了强调一系列批判性方法的选集。关于单个作家的专著已经不像以前那么常见了，但丹尼尔·汉娜(Daniel Hannah)的一本出色的书说明了一个熟悉的话题——詹姆斯和印象派——是如何通过仔细阅读和历史研究的创造性综合而重新焕发活力的。“艺术取决于讨论……詹姆斯在《小说的艺术》(the Art of Fiction)一书中写道:“在交流观点和比较立场的基础上，我的写作能力是强大的。”他对多元视角的认可奠定了他在当今课堂上的地位。当下的关键文本是《大使》和《丛林里的野兽》，它们引发了更大的解读问题，即关于抗拒婚姻的男人的模糊表述的解释有效性。哈泽尔·哈奇森和j·c·霍尔曼的简短传记，以及一些引人入胜的平装本，旨在让学生和普通读者更容易理解詹姆斯。
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Pub Date : 2015-10-07DOI: 10.1215/00659142-2886868
Alec Marsh, Patrick R. Query
photographic experiments with Pound have more to do with the fourth dimension than with rock-drills. Coburn was a theosophical, not philosophical, modernist, best linked to Katherine Heyman (Coburn too was a devotee of Alexander Scriabin), Margaret Cravens, and William Butler Yeats. Pound employed Coburn to photograph Gaudier’s sculptures for John Quinn. Pound’s relationship with Quinn is well known, but Vivien Greene’s “John Quinn and Vorticist Art: The Eye (and Purse) of an American Collector” ( pp. 175–96) includes Quinn’s testimony. It seems that Quinn acquired a good deal of Vorticist art at bargain prices and that he also risked a good deal of money in these edgy, problematic works, now seen as among an era’s vital signs. Vibratory Modernism, ed. Anthony Enns and Shelley Trower (Palgrave), includes Andrew Logeman’s “Physics as Narrative: Lewis, Pound, and the London Vortex” ( pp. 80–95), which suggests that Sir William Thompson’s “vortex atom” bruited in 1867 provided the leading metaphor and model for Vorticism. Logeman’s essay supplements the one by Puhak discussed above but takes a broader, physicist’s view, arguing that Lewis and Pound “translated the vortex atom’s knots of physical energy and ethereal vibrations into Vorticist concerns with cultural energy and aesthetic vibrations, making the vortex the intersection point for all artistic praxis,” thereby “placing the artist at the radiant central node of modernity.” This essay is a concise presentation of the application of physics of art, explaining how artistic power is a form of energy. Incidentally, it includes a fine reading of Tarr as a novel of vortices. c. Translations Tom Dolack’s “Imitation, Emulation, Influence, and Pound’s Poetic Renewal” (ILS 15: 1–24) is a “psychology-based approach toward imitation” that uses two translations by Pound, “The Girl” (out Alec Marsh and Patrick R. Query 151 of Ovid and Petrarch) and “Taking Leave of a Friend” (from Li Po), as case studies gesturing toward a larger attempt to “study literary imitation from an evolutionary/cognitive perspective.” The ability to imitate is a fundamental human attribute, the will to imitate a fundamental human imperative. Following certain anthropologists, Dolack contends that imitation becomes emulation when social status influences what is to be imitated. In literature, imitation covers a spectrum of practices, from faithful copying, simple translation, emulation (the attempt to achieve “the same effect through different linguistic or formal means”), adaptation (“using the source-text as an initial conceit and innovating beyond it”), and finally innovation, which Dolack shows can never “totally leave behind concerns of imitation, innovation, intertextuality or influence.” Such a broad discussion necessarily involves various theories of influence and culture. For some reason Dolack finds the critical emphasis on readings of individual poems is “unmoored and adrift from broader questions such as why influence s
{"title":"Pound and Eliot","authors":"Alec Marsh, Patrick R. Query","doi":"10.1215/00659142-2886868","DOIUrl":"https://doi.org/10.1215/00659142-2886868","url":null,"abstract":"photographic experiments with Pound have more to do with the fourth dimension than with rock-drills. Coburn was a theosophical, not philosophical, modernist, best linked to Katherine Heyman (Coburn too was a devotee of Alexander Scriabin), Margaret Cravens, and William Butler Yeats. Pound employed Coburn to photograph Gaudier’s sculptures for John Quinn. Pound’s relationship with Quinn is well known, but Vivien Greene’s “John Quinn and Vorticist Art: The Eye (and Purse) of an American Collector” ( pp. 175–96) includes Quinn’s testimony. It seems that Quinn acquired a good deal of Vorticist art at bargain prices and that he also risked a good deal of money in these edgy, problematic works, now seen as among an era’s vital signs. Vibratory Modernism, ed. Anthony Enns and Shelley Trower (Palgrave), includes Andrew Logeman’s “Physics as Narrative: Lewis, Pound, and the London Vortex” ( pp. 80–95), which suggests that Sir William Thompson’s “vortex atom” bruited in 1867 provided the leading metaphor and model for Vorticism. Logeman’s essay supplements the one by Puhak discussed above but takes a broader, physicist’s view, arguing that Lewis and Pound “translated the vortex atom’s knots of physical energy and ethereal vibrations into Vorticist concerns with cultural energy and aesthetic vibrations, making the vortex the intersection point for all artistic praxis,” thereby “placing the artist at the radiant central node of modernity.” This essay is a concise presentation of the application of physics of art, explaining how artistic power is a form of energy. Incidentally, it includes a fine reading of Tarr as a novel of vortices. c. Translations Tom Dolack’s “Imitation, Emulation, Influence, and Pound’s Poetic Renewal” (ILS 15: 1–24) is a “psychology-based approach toward imitation” that uses two translations by Pound, “The Girl” (out Alec Marsh and Patrick R. Query 151 of Ovid and Petrarch) and “Taking Leave of a Friend” (from Li Po), as case studies gesturing toward a larger attempt to “study literary imitation from an evolutionary/cognitive perspective.” The ability to imitate is a fundamental human attribute, the will to imitate a fundamental human imperative. Following certain anthropologists, Dolack contends that imitation becomes emulation when social status influences what is to be imitated. In literature, imitation covers a spectrum of practices, from faithful copying, simple translation, emulation (the attempt to achieve “the same effect through different linguistic or formal means”), adaptation (“using the source-text as an initial conceit and innovating beyond it”), and finally innovation, which Dolack shows can never “totally leave behind concerns of imitation, innovation, intertextuality or influence.” Such a broad discussion necessarily involves various theories of influence and culture. For some reason Dolack finds the critical emphasis on readings of individual poems is “unmoored and adrift from broader questions such as why influence s","PeriodicalId":40078,"journal":{"name":"American Literary Scholarship","volume":"2013 1","pages":"145 - 162"},"PeriodicalIF":0.0,"publicationDate":"2015-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66077775","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 : 2015-10-07DOI: 10.1215/00659142-2846658
Joseph Fruscione, Michael Von Cannon
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Pub Date : 2015-10-07DOI: 10.1215/00659142-2870649
Carol J. Singley, R. Thacker
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Pub Date : 2015-10-07DOI: 10.1215/00659142-2886850
Peter C. Norberg
This year marks somewhat of a generational shift in Herman Melville criticism. Only one new monograph was published, a comparative study of Melville’s and Richard Henry Dana’s sea novels in the context of Justice Joseph Story’s legal opinions. Yet three significant collections of essays appear: The New Cambridge Companion to Herman Melville, ed. Robert S. Levine; A Political Companion to Herman Melville, ed. Jason Frank; and Melville as Poet, a collection initiated by Douglas Robillard and completed by Sanford Marovitz. Each of these collections features essays that introduce Melville to a new generation of readers and include theoretical and political approaches to his fiction and poetry that illuminate the continuing relevance of his art for American studies. In addition to these collections, over 20 separate articles as well as several chapters in general collections were published, not all of which will be discussed here. Considerable attention has also been given to Melville’s interest in art and his influence on other artists across a range of mediums, including a special edition of Leviathan (15, iii) titled “Artists and Adaptation.”
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