Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00185.X
Joseph C. Schöpp
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Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00192.X
S. Frye
{"title":"Melvillean Skepticism and Alternative Modernity in “The Lightning-Rod Man”","authors":"S. Frye","doi":"10.1111/J.1754-6095.2006.TB00192.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2006.TB00192.X","url":null,"abstract":"","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"13 1","pages":"115 - 125"},"PeriodicalIF":0.0,"publicationDate":"2006-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91313276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00193.X
K. M. Scott
In December of 1855, Charles F. Briggs, the editor of Putnamk Monthly, published an editorial, “About Niggers,” in which he defended the presence of stories about Africans and African Americans in the short-lived magazine that provided a home for several of Melville’s influential novellas. Briggs ends his piece with an anecdote from a friend about Anthony Rox, an ex-slave and now a “superb enginedriver, on the Ohio river,” who, when asked how he came to be free, responded:
1855年12月，《普特南克月刊》(Putnamk Monthly)的编辑查尔斯·f·布里格斯(Charles F. Briggs)发表了一篇社论《关于黑鬼》(About Niggers)，他在社论中为这本短命的杂志中出现的关于非洲人和非裔美国人的故事进行了辩护，梅尔维尔的几部有影响力的中篇小说就是在这本杂志上发表的。布里格斯以一位朋友讲述的安东尼·罗克斯(Anthony Rox)的轶事结束了他的文章。安东尼曾是一名奴隶，现在是“俄亥俄河上的一名出色的司机”，当被问及他是如何获得自由的时候，他回答说:
{"title":"“Likewise Masked”: Blackface and Whitewash in Melville’s “Benito Cereno”","authors":"K. M. Scott","doi":"10.1111/J.1754-6095.2006.TB00193.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2006.TB00193.X","url":null,"abstract":"In December of 1855, Charles F. Briggs, the editor of Putnamk Monthly, published an editorial, “About Niggers,” in which he defended the presence of stories about Africans and African Americans in the short-lived magazine that provided a home for several of Melville’s influential novellas. Briggs ends his piece with an anecdote from a friend about Anthony Rox, an ex-slave and now a “superb enginedriver, on the Ohio river,” who, when asked how he came to be free, responded:","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"38 1","pages":"126 - 135"},"PeriodicalIF":0.0,"publicationDate":"2006-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75508207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00180.X
R. Lamb
I am honored to present this brief overview of the scholarly career of G. R. Thompson, for the past four decades both our finest Poe critic and our foremost scholar of nineteenthcentury American narrative aesthetics. The undertaking is a formidable one, though, made daunting by the breadth and influence of his achievements and by my desire to dojustice to a dear friend, beloved by his students and colleagues, whose decency, kindness, and generosity of spirit have been legendary in the profession. Ishmael took six hundred pages to explain a whale, while simultaneously confessing that he could not. I will take considerably fewer pages to describe the work of a figurative whale. Like Ishmael, I’m doomed to fail, but as he bravely and succinctly put it, I will try. Dick Thompson first rose to prominence for his work on Edgar Allan Poe. In 1968, at the age of thirty and in only his second year as an assis tant professor at Washington State University, he founded the Poe Newskttto; which soon evolved into Poe Studies. He served as editor and then coeditor until 1979, and remains a member of the editorial board to this day. From its inception, the journal played a central role in promoting scholarship on Poe, attracting submissions from established scholars and giving many young professors who would one day become leading literary critics an early opportunity to publish. Poe Studies created a dynamic discourse community devoted to the author, as essays and notes in the journal often responded to each other, establishing exciting and productive dialogues about Poe’s work at a time when he, although nominally canonized, was still viewed as something of a hack in many quarters of the Modern Language Association. While Dick was engineering the birth and growth of the journal, his own scholarship on Poe was appearing in such venues as PMLA, A m e r i c a n Literature, Studies in Short Fiction, and Poe Studies itself. He also made his presence felt in the pages of Amen’can Literary Scholamhip, writing the “Themes, Topics, and Criticism” review chapter from 1969 to 1971, and then the Poe review chapter in 1972-74 and 1980. In addition, in 1970 he edited Harper’s Great Short Works of Edgar Allan Poe, with a revised version in 1974, a collection that has been continuously reissued and in print ever since and that is regularly assigned in high schools and colleges. This phase of Dick’s career culminated in his first authored book, PoeS Fiction: Romantic Irony in the Gothic Tales (1973), which was nominated for the Modern Language Association’s James Russell Lowell Prize. The influence and significance of PoeS Fiction cannot be overstated, for it appeared at a time when Poe scholarship was mired in a quandary. As Dick diagnosed it:
{"title":"Flight of the Raven: A Retrospective on the Scholarship of G. R. Thompson","authors":"R. Lamb","doi":"10.1111/J.1754-6095.2006.TB00180.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2006.TB00180.X","url":null,"abstract":"I am honored to present this brief overview of the scholarly career of G. R. Thompson, for the past four decades both our finest Poe critic and our foremost scholar of nineteenthcentury American narrative aesthetics. The undertaking is a formidable one, though, made daunting by the breadth and influence of his achievements and by my desire to dojustice to a dear friend, beloved by his students and colleagues, whose decency, kindness, and generosity of spirit have been legendary in the profession. Ishmael took six hundred pages to explain a whale, while simultaneously confessing that he could not. I will take considerably fewer pages to describe the work of a figurative whale. Like Ishmael, I’m doomed to fail, but as he bravely and succinctly put it, I will try. Dick Thompson first rose to prominence for his work on Edgar Allan Poe. In 1968, at the age of thirty and in only his second year as an assis tant professor at Washington State University, he founded the Poe Newskttto; which soon evolved into Poe Studies. He served as editor and then coeditor until 1979, and remains a member of the editorial board to this day. From its inception, the journal played a central role in promoting scholarship on Poe, attracting submissions from established scholars and giving many young professors who would one day become leading literary critics an early opportunity to publish. Poe Studies created a dynamic discourse community devoted to the author, as essays and notes in the journal often responded to each other, establishing exciting and productive dialogues about Poe’s work at a time when he, although nominally canonized, was still viewed as something of a hack in many quarters of the Modern Language Association. While Dick was engineering the birth and growth of the journal, his own scholarship on Poe was appearing in such venues as PMLA, A m e r i c a n Literature, Studies in Short Fiction, and Poe Studies itself. He also made his presence felt in the pages of Amen’can Literary Scholamhip, writing the “Themes, Topics, and Criticism” review chapter from 1969 to 1971, and then the Poe review chapter in 1972-74 and 1980. In addition, in 1970 he edited Harper’s Great Short Works of Edgar Allan Poe, with a revised version in 1974, a collection that has been continuously reissued and in print ever since and that is regularly assigned in high schools and colleges. This phase of Dick’s career culminated in his first authored book, PoeS Fiction: Romantic Irony in the Gothic Tales (1973), which was nominated for the Modern Language Association’s James Russell Lowell Prize. The influence and significance of PoeS Fiction cannot be overstated, for it appeared at a time when Poe scholarship was mired in a quandary. As Dick diagnosed it:","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"77 1","pages":"1 - 16"},"PeriodicalIF":0.0,"publicationDate":"2006-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83878849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00181.X
A. Hammond
{"title":"G. R. Thompson at WSU: Poe Studies and ESQ: A Journal of the American Renaissance","authors":"A. Hammond","doi":"10.1111/J.1754-6095.2006.TB00181.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2006.TB00181.X","url":null,"abstract":"","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"36 1","pages":"17 - 18"},"PeriodicalIF":0.0,"publicationDate":"2006-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79764215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00191.X
M. Colacurcio
{"title":"Woman’s Heart, Woman’s Choice: The “History” of The Scarlet Letter","authors":"M. Colacurcio","doi":"10.1111/J.1754-6095.2006.TB00191.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2006.TB00191.X","url":null,"abstract":"","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"20 1","pages":"104 - 114"},"PeriodicalIF":0.0,"publicationDate":"2006-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86467067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00194.X
Brian D Yothers
Few critics have drawn our attention to the significance of doubt, irony, ambivalence, and skepticism for the study of dark romanticism as forcibly as G. R. Thompson. I suggest that an often-overlooked source of the epistemological uncertainties that pervade the gothic works of Poe, Hawthorne, and Melville is the frequently chaotic religious pluralism of nineteenthcentury America. Nineteenth-century Americans faced a bewildering variety of religious options that offered widely disparate ontological, ethical, and epistemological bases for understanding their world. The proliferation of new religious denominations and sects within the United States offered a multitude of angles from which to view mainstream Protestantism (and to depart from it), while American travelers and intellectuals increasingly encountered works from religrous traditions that were strikingly different from Protestantism, including not only Roman Catholicism and Judaism but also Islam, Hinduism, Buddhism, and Confucianism. As the writings of the transcendentalists attest, the experience of religious pluralism could be p r e foundly liberating and exhilarating, but this same experience could also be the source of tremendous intellectual and psychological vertigo. Poe, Hawthorne, and Melville each explore the terrors and promises of religious pluralism in distinctive ways in their works. Poe’s prose poem Eureka, a curious pastiche of philosophy and farce, plays out the problem of pluralism on a grand scale. Hawthorne’s engagement with religious pluralism is more explicit, both in his accounts of the Puritans’ persecution of Quakers and Anglicans in colonial New England and in his deeply ironic discussion of American spiritual diversity in “The Celestial Railroad.” Melville, meanwhile, puts the problems and promises of pluralism at the center of his work, from the interaction of Ishmael and Queequeg and the sinister role played by the Parsee Fedallah in Mob-Dick to the anguished interreligious debates in his long poem Clarel: A Poem and Pilgrimage in the Holy Land. Terms like “pluralism” and “dialogue” are often tossed about casually as if they represent solutions to religious difference in themselves. Poe, Hawthorne, and Melville, each in his own way, explore the anguish, fear, and uncertainty attendant on any effort to think seriously and systematically about religious difference. My focus in this essay will be on Poe’s representation of the euphoria connected with pluralism in Eureka and “Mesmeric Revelations,” Hawthorne’s skepticism about the liberalization of religious belief prompted by religious pluralism in “The Celes tial Railroad,” and Melville’s anguished grappling with both the allure and the terrifylng uncertainty associated with religious pluralism in Clarel.
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Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00189.X
When Edgar Allan Poe
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Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00190.X
Eric Carl Link
Ladies and Gentlemen of the jury: The question for consideration here constitutes literary double jeopardy. Our defendant, Edgar Huntly, has been tried for the crime of murder in the past-see Bernard v. Huntly (1967)-and was found guilty. But, Huntly escaped the hangman’s noose, for post-1967 criticism of Charles Brockden Brown’s 1799 novel Edgar Huntly has only casually flirted with the idea that Edgar himself might be implicated in some fashion in Waldegrave’s murder. A slayer of Indians, of course, but the murderer of his friend, the brother of his beloved Mary Waldegrave? Surely not. Fortunately, the US. Constitution does not extend Fifth Amendment privileges to literary somnambulists, so despite Huntly’s peremptory plea of autrefis convict, let us drag him back before the bar. Edgar Huntly has generated a sizeable body of probing criticism in the past couple of decades and has been a favorite among postcolonial critics, cultural critics, and others who find the text fertile territory for mapping out some of the complexities of early republican literature in America. And even though I may risk appearing sophomoric in the midst of this wave of delicately nuanced, culturally rich criticism of the novel, in this essay I simplywish to address a matter of plot. Whatever else Edgar Hunt@ may be, and whatever else it may have to say about life in the earliest years of the republic, Brown’s novel is, at its core, a murder mystery, and although its title character is no Sam Spade or Continental Op, he is, nevertheless, a self-styled detective seeking his friend’s killer. Or, in Huntly’s own words: “Once more I asked, who was his assassin? By what motives could he be impelled to a deed like this?”’ Huntly provides answers to these two questions in the novel: Waldegrave was killed in a chance meeting with a lone Native American on a quest to wreak vengeance for accumulated wrongs on the first settler he should meet. That settler was Waldegrave. He was in the wrong place at the wrong time. It could have been anyone. It is easy to take Huntly at his word, as most critics do, but to do so is certainly risky business, for Huntly is a notoriously unreliable narrator, and, simply put, his explanation-revealed as an afterthought at the end of the narrative in a brief passage-is unsatisfjmg enough to warrant an inquisitive second glance. If we momentarily set aside Huntly’s own explanation regarding Waldegrave’s murder and reexamine Edgar Huntly in a fresh effort to answer the question Huntly himself poses at the beginning of the narrative, the evidence-perhaps overwhelmingly so-points to none other than Huntly himself.
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