Pub Date : 2022-12-20DOI: 10.3390/literature3010001
Paolo Pitari
This article responds to the arguments put forth by Peter Lamarque and Stein Haugom Olsen in Truth, Fiction, and Literature: A Philosophical Perspective (1994). It argues that the said work is representative of the widespread tendency in literary theory today to discard the possibility of literary truth, and it provides counterarguments to the work’s main theses. Consequently, it criticizes the philosophy of pragmatism and its implications, and it offers a theory that defines fictional objects as existing and solves contradictions that commonly affect our debates on the ontology of fiction. The article does not provide a positive theory of literary truth, but it undermines its denials, which have become popular in recent decades.
{"title":"In Defense of Literary Truth: A Response to Truth, Fiction, and Literature by Peter Lamarque and Stein Haugom Olsen to Inquire into No-Truth Theories of Literature, Pragmatism, and the Ontology of Fictional Objects","authors":"Paolo Pitari","doi":"10.3390/literature3010001","DOIUrl":"https://doi.org/10.3390/literature3010001","url":null,"abstract":"This article responds to the arguments put forth by Peter Lamarque and Stein Haugom Olsen in Truth, Fiction, and Literature: A Philosophical Perspective (1994). It argues that the said work is representative of the widespread tendency in literary theory today to discard the possibility of literary truth, and it provides counterarguments to the work’s main theses. Consequently, it criticizes the philosophy of pragmatism and its implications, and it offers a theory that defines fictional objects as existing and solves contradictions that commonly affect our debates on the ontology of fiction. The article does not provide a positive theory of literary truth, but it undermines its denials, which have become popular in recent decades.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82934354","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 : 2022-12-12DOI: 10.3390/literature2040032
Chloe Renwick
In this article I argue that Helen of Troy in Thomas Heywood’s The Iron Age I & II can be read as a figure for Elizabeth I during her final decade. Heywood appropriates multiple sources to emphasise images of age, decay and death which connect Helen and Elizabeth by evoking concerns that were prevalent as the Queen aged. Whether we date the plays as late Elizabethan or early Jacobean, Heywood was writing at a time when people were thinking (in anticipation or retrospection) about Elizabeth’s death and the end of the Tudor line. In The Iron Age II, Heywood shows Helen lament the loss of her fabled beauty when she gazes into a mirror and sees an aged face that resembles Elizabeth’s. With her despair compounded by her guilt over the Trojan War, Helen turns to suicide and Heywood ends the entire Age pentalogy with a glance to the succession. Ultimately, in his treatment of Helen, Heywood subversively brings to centre stage images that Elizabeth (and her government) had tried to quash and opens up new forums for political commentary at London’s popular theatres.
{"title":"‘In Her I See/All Beauties Frailty’: Mirroring Helen of Troy and Elizabeth I in Thomas Heywood’s The Iron Age and The Second Part of The Iron Age (c.1596/c.1610)","authors":"Chloe Renwick","doi":"10.3390/literature2040032","DOIUrl":"https://doi.org/10.3390/literature2040032","url":null,"abstract":"In this article I argue that Helen of Troy in Thomas Heywood’s The Iron Age I & II can be read as a figure for Elizabeth I during her final decade. Heywood appropriates multiple sources to emphasise images of age, decay and death which connect Helen and Elizabeth by evoking concerns that were prevalent as the Queen aged. Whether we date the plays as late Elizabethan or early Jacobean, Heywood was writing at a time when people were thinking (in anticipation or retrospection) about Elizabeth’s death and the end of the Tudor line. In The Iron Age II, Heywood shows Helen lament the loss of her fabled beauty when she gazes into a mirror and sees an aged face that resembles Elizabeth’s. With her despair compounded by her guilt over the Trojan War, Helen turns to suicide and Heywood ends the entire Age pentalogy with a glance to the succession. Ultimately, in his treatment of Helen, Heywood subversively brings to centre stage images that Elizabeth (and her government) had tried to quash and opens up new forums for political commentary at London’s popular theatres.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76019037","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 : 2022-12-09DOI: 10.3390/literature2040031
Arianna Magnolo
This article aims to examine one of the myths belonging to the first part of Nonnus’ Dionysiaca, i.e., that of Io. Starting from the philological analysis of the passages dealing with this myth and adopting an intertextual approach, I will argue that the Panopolitan assimilates Io to Isis following Lycophron, one of the authors employed as a model in his poem. Finally, I will also explain the meaning of this choice inside Nonnus’ work, taking into account its historical context. Nonnus wants to emphasize the role of Dionysus’ lineage in the civilization process, giving it an historical relevance. Therefore, the allusion to Lycophron assimilates Cadmus (Dionysus’ grandfather) to Alexander the Great, who is celebrated as a peacemaker in the Alexandra. Furthermore, Cadmus and his offspring can be connected to the Romans, who, at the time of Nonnus, played the same role in the rising Byzantine empire.
{"title":"Io as Isis: A Lycophronean Myth in Nonnus","authors":"Arianna Magnolo","doi":"10.3390/literature2040031","DOIUrl":"https://doi.org/10.3390/literature2040031","url":null,"abstract":"This article aims to examine one of the myths belonging to the first part of Nonnus’ Dionysiaca, i.e., that of Io. Starting from the philological analysis of the passages dealing with this myth and adopting an intertextual approach, I will argue that the Panopolitan assimilates Io to Isis following Lycophron, one of the authors employed as a model in his poem. Finally, I will also explain the meaning of this choice inside Nonnus’ work, taking into account its historical context. Nonnus wants to emphasize the role of Dionysus’ lineage in the civilization process, giving it an historical relevance. Therefore, the allusion to Lycophron assimilates Cadmus (Dionysus’ grandfather) to Alexander the Great, who is celebrated as a peacemaker in the Alexandra. Furthermore, Cadmus and his offspring can be connected to the Romans, who, at the time of Nonnus, played the same role in the rising Byzantine empire.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75921283","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 : 2022-12-06DOI: 10.3390/literature2040030
Sergi Grau
This brief study addresses the controversial issue of the relationship with the body, with the flesh, on the part of pagan and Christian thinkers at a particularly important point in their evolution, in the late fourth and early fifth centuries, a time in which Neoplatonic thinkers had to defend their doctrinal positions against the increasingly hegemonic position of the triumphant Christianity. In this sense, it is particularly interesting to approach the perspective of two authors who are not strictly speaking philosophers: in particular, Synesius of Cyrene, a thinker in the Neoplatonic tradition who became a Christian bishop, complemented also by some interesting reflections by Eunapius of Sardis, historian and biographer of Neoplatonic philosophers. In the light of this analysis, it becomes clear that the discussion on the value of the body and carnality is an essential point of doctrinal discrepancy in this period and, contrary to what sometimes appears, the discrepancy also pertains to the formation of the intellectual, and Christianity clearly appears as a doctrine obsessed with the flesh to the detriment of the soul.
{"title":"The Body among Neoplatonists and Christians at the End of the Fourth Century: Synesius of Cyrene’s and Eunapius of Sardis’ Perspective","authors":"Sergi Grau","doi":"10.3390/literature2040030","DOIUrl":"https://doi.org/10.3390/literature2040030","url":null,"abstract":"This brief study addresses the controversial issue of the relationship with the body, with the flesh, on the part of pagan and Christian thinkers at a particularly important point in their evolution, in the late fourth and early fifth centuries, a time in which Neoplatonic thinkers had to defend their doctrinal positions against the increasingly hegemonic position of the triumphant Christianity. In this sense, it is particularly interesting to approach the perspective of two authors who are not strictly speaking philosophers: in particular, Synesius of Cyrene, a thinker in the Neoplatonic tradition who became a Christian bishop, complemented also by some interesting reflections by Eunapius of Sardis, historian and biographer of Neoplatonic philosophers. In the light of this analysis, it becomes clear that the discussion on the value of the body and carnality is an essential point of doctrinal discrepancy in this period and, contrary to what sometimes appears, the discrepancy also pertains to the formation of the intellectual, and Christianity clearly appears as a doctrine obsessed with the flesh to the detriment of the soul.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83437646","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 : 2022-12-02DOI: 10.3390/literature2040028
A. J. Quiroga-Puertas
The study of periautologia (“self-praise”) in Ancient Greek literature has been somehow overlooked even though its presence is felt in numerous works. The absence of the analysis of periautologia is even more remarkable in the case of the works composed by the sophist Libanius of Antioch given the autobiographical nature of most of his speeches. Thus, in this paper I surveyed the use and the purposes of periautologia in one of his speeches—Or. 2, To those who called him tiresome—in order to ascertain which rhetorical and literary strategies were deployed by Libanius. The sophist’s concern with losing his influence in the cultural and political milieu of the end of the fourth century AD contributes to explain the frequent use of periautological passages in his Or. 2.
{"title":"Tiresome or Pamphleteering? The Use of Periautologia in Libanius of Antioch’s To Those Who Called Him Tiresome (Or. 2)","authors":"A. J. Quiroga-Puertas","doi":"10.3390/literature2040028","DOIUrl":"https://doi.org/10.3390/literature2040028","url":null,"abstract":"The study of periautologia (“self-praise”) in Ancient Greek literature has been somehow overlooked even though its presence is felt in numerous works. The absence of the analysis of periautologia is even more remarkable in the case of the works composed by the sophist Libanius of Antioch given the autobiographical nature of most of his speeches. Thus, in this paper I surveyed the use and the purposes of periautologia in one of his speeches—Or. 2, To those who called him tiresome—in order to ascertain which rhetorical and literary strategies were deployed by Libanius. The sophist’s concern with losing his influence in the cultural and political milieu of the end of the fourth century AD contributes to explain the frequent use of periautological passages in his Or. 2.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76379416","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 : 2022-12-02DOI: 10.3390/literature2040029
Rie Makino
Japanese American writer Karen Tei Yamashita’s first novel, Through the Arc of the Rainforest (1990), portrays protagonist Kazumasa Ishimaru as “a Japanese Santa Claus”, depicted as having a plastic ball spinning in front of his face. Yamashita presents this magic realist hero as a satire of Japan in the 1990s, which became the developed nation needed to support the developing world under the new Marshall Plan. Focusing on Kazumaza’s participation in charity, this essay explores the gift economy embodied by this Japanese immigrant character. Inspired by Claude Lévi-Strauss’s 1952 essay “Burned-out Santa Claus”, Kazumasa’s Nikkei subject position not only criticizes American capitalism but also Brazil’s postcolonial mentality. Supporting the idea that Lévi-Strauss sympathizes with Jean-Jacques Rousseau’s concept of innocence, the last part of the essay probes the idea of Kazumasa as an innocent subject who challenges the dichotomy between American capitalism and postcolonial Brazil.
{"title":"A Japanese Santa Claus: A Nikkei Subject and Lévi-Strauss’s Gift Theory in Through the Arc of the Rain Forest","authors":"Rie Makino","doi":"10.3390/literature2040029","DOIUrl":"https://doi.org/10.3390/literature2040029","url":null,"abstract":"Japanese American writer Karen Tei Yamashita’s first novel, Through the Arc of the Rainforest (1990), portrays protagonist Kazumasa Ishimaru as “a Japanese Santa Claus”, depicted as having a plastic ball spinning in front of his face. Yamashita presents this magic realist hero as a satire of Japan in the 1990s, which became the developed nation needed to support the developing world under the new Marshall Plan. Focusing on Kazumaza’s participation in charity, this essay explores the gift economy embodied by this Japanese immigrant character. Inspired by Claude Lévi-Strauss’s 1952 essay “Burned-out Santa Claus”, Kazumasa’s Nikkei subject position not only criticizes American capitalism but also Brazil’s postcolonial mentality. Supporting the idea that Lévi-Strauss sympathizes with Jean-Jacques Rousseau’s concept of innocence, the last part of the essay probes the idea of Kazumasa as an innocent subject who challenges the dichotomy between American capitalism and postcolonial Brazil.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75451428","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 : 2022-11-29DOI: 10.3390/literature2040027
Edward B M Rendall
This article shows how temporal disorder diffuses into the wildernesses within early modern English drama. Those areas beyond the walls of cities and castles in—among other plays—The Two Gentlemen of Verona, Titus Andronicus, Romeo and Juliet, and Macbeth thus flit free from the temporal rules that construct a play’s quotidian world, and the conspicuous partitions that enclose an otherworld in medieval iconography no longer seem clear within them. I argue that these spaces enact an unfamiliar and chaotic ‘otherworld’ within quotidian space, and characters’ ventures into these outer regions at certain points resemble movements into an ‘afterlife’. Journeys into a wilderness, then, parallel a shift from one temporal sphere to another, and characters encounter a post-death state of being within the play’s present.
{"title":"Temporal Instability, Wildernesses, and the Otherworld in Early Modern Drama","authors":"Edward B M Rendall","doi":"10.3390/literature2040027","DOIUrl":"https://doi.org/10.3390/literature2040027","url":null,"abstract":"This article shows how temporal disorder diffuses into the wildernesses within early modern English drama. Those areas beyond the walls of cities and castles in—among other plays—The Two Gentlemen of Verona, Titus Andronicus, Romeo and Juliet, and Macbeth thus flit free from the temporal rules that construct a play’s quotidian world, and the conspicuous partitions that enclose an otherworld in medieval iconography no longer seem clear within them. I argue that these spaces enact an unfamiliar and chaotic ‘otherworld’ within quotidian space, and characters’ ventures into these outer regions at certain points resemble movements into an ‘afterlife’. Journeys into a wilderness, then, parallel a shift from one temporal sphere to another, and characters encounter a post-death state of being within the play’s present.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89028721","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 : 2022-11-23DOI: 10.3390/literature2040026
P. Innes, Katie James
Shakespeare’s treatment of Richard III has long been the cause of debates about Tudor defamations of the last Yorkist king. Within this context, some attention has been paid to the play’s extreme compression of events that in fact took place over a period of seven years, from the death of George, Duke of Clarence in 1478 to the Battle of Bosworth Field in 1485. This study investigates the momentum of events to gauge the extent to which the representation of Richard does paint him in an entirely negative light. Detailed analysis of the timeline demonstrates that the way the play re-structures historical moments is designed to foreground not only the figure of Richard himself, with all its attendant associations, but also the very methods used to concentrate attention upon him. The self-referential nature of the play’s relationship to history points to its own constructions, foregrounding the techniques used to show not only the legend of Richard, but how it is elaborated. The play therefore draws attention to its own manipulation of events, which in turn makes any assumptions about its representation of Richard as villain open to question.
{"title":"Temporal Compression in Shakespeare’s Richard III","authors":"P. Innes, Katie James","doi":"10.3390/literature2040026","DOIUrl":"https://doi.org/10.3390/literature2040026","url":null,"abstract":"Shakespeare’s treatment of Richard III has long been the cause of debates about Tudor defamations of the last Yorkist king. Within this context, some attention has been paid to the play’s extreme compression of events that in fact took place over a period of seven years, from the death of George, Duke of Clarence in 1478 to the Battle of Bosworth Field in 1485. This study investigates the momentum of events to gauge the extent to which the representation of Richard does paint him in an entirely negative light. Detailed analysis of the timeline demonstrates that the way the play re-structures historical moments is designed to foreground not only the figure of Richard himself, with all its attendant associations, but also the very methods used to concentrate attention upon him. The self-referential nature of the play’s relationship to history points to its own constructions, foregrounding the techniques used to show not only the legend of Richard, but how it is elaborated. The play therefore draws attention to its own manipulation of events, which in turn makes any assumptions about its representation of Richard as villain open to question.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75635284","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 : 2022-11-08DOI: 10.3390/literature2040025
M. Gauvin
Citizenship is popularly associated with able-bodiedness, both physically and cognitively. However, disability studies over the last few decades has revealed the extent to which the idea of the nation as composed of able-bodied constituents is little more than fantasy, one that can create or galvanize barriers to full political and social participation. Part of this task has involved re-evaluating key works of canonical literature through the lens of disability. In the following paper, I apply this approach to Samuel Beckett’s Waiting for Godot and argue that Beckett’s play disrupts not just the fantasy of a nation composed of able-bodied citizens but the language of able-bodiedness itself, which has implications for how we conceive of citizenship and participatory politics. While impairment has been critiqued in Beckett before, the extensive examples of pained and impaired characters in his works have often been subsumed under broader philosophical themes, such as existentialism, nihilism, or Cartesian dualism, and rarely linked to issues of citizenship, politics, or the social and built environment. I explore how Beckett’s approach to theatrical and linguistic performativity contributes to how he staged the experience of pain and disability that has implications for how we conceive of and practice citizenship.
{"title":"Citizenship, Pain, and Disability in Samuel Beckett’s Waiting for Godot","authors":"M. Gauvin","doi":"10.3390/literature2040025","DOIUrl":"https://doi.org/10.3390/literature2040025","url":null,"abstract":"Citizenship is popularly associated with able-bodiedness, both physically and cognitively. However, disability studies over the last few decades has revealed the extent to which the idea of the nation as composed of able-bodied constituents is little more than fantasy, one that can create or galvanize barriers to full political and social participation. Part of this task has involved re-evaluating key works of canonical literature through the lens of disability. In the following paper, I apply this approach to Samuel Beckett’s Waiting for Godot and argue that Beckett’s play disrupts not just the fantasy of a nation composed of able-bodied citizens but the language of able-bodiedness itself, which has implications for how we conceive of citizenship and participatory politics. While impairment has been critiqued in Beckett before, the extensive examples of pained and impaired characters in his works have often been subsumed under broader philosophical themes, such as existentialism, nihilism, or Cartesian dualism, and rarely linked to issues of citizenship, politics, or the social and built environment. I explore how Beckett’s approach to theatrical and linguistic performativity contributes to how he staged the experience of pain and disability that has implications for how we conceive of and practice citizenship.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82836622","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 : 2022-11-07DOI: 10.3390/literature2040024
R. Hsu
Yamashita’s use of mythic verism in Tropic of Orange and a reimagined doppelgänger trope in I Hotel depicts the ir/real nature of the taxonomy of identity and of Asian America and other minority groups being constituted in and beyond the mainstream or conventional understanding of the idea of America and of the identity of the US nation-state as being built upon discursive technologies of amnesia and misinterpellation of the subject of US history and its Other.
{"title":"Karen Tei Yamashita and Magical Realism: Re-Membering Community, Undoing Borders","authors":"R. Hsu","doi":"10.3390/literature2040024","DOIUrl":"https://doi.org/10.3390/literature2040024","url":null,"abstract":"Yamashita’s use of mythic verism in Tropic of Orange and a reimagined doppelgänger trope in I Hotel depicts the ir/real nature of the taxonomy of identity and of Asian America and other minority groups being constituted in and beyond the mainstream or conventional understanding of the idea of America and of the identity of the US nation-state as being built upon discursive technologies of amnesia and misinterpellation of the subject of US history and its Other.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91157216","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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