Abstract:With the canon expanding (if not exploding), authors like Crane and even Hemingway and works like "The Blue Hotel" (1898) and "The Killers" (1927) received less and less critical attention. To be clear, that is not a bad thing: new voices, fresh voices, rediscovered voices enrich our understanding of not just American literature but of the American experience. At the same time, as Princeton's Eddie Glaude, Jr., reminds us, to understand the present with any real insight, we must also examine the past.
{"title":"Looking Backwards: Okay, Professor Boomer","authors":"Jeraldine R. Kraver","doi":"10.1353/cea.2023.0005","DOIUrl":"https://doi.org/10.1353/cea.2023.0005","url":null,"abstract":"Abstract:With the canon expanding (if not exploding), authors like Crane and even Hemingway and works like \"The Blue Hotel\" (1898) and \"The Killers\" (1927) received less and less critical attention. To be clear, that is not a bad thing: new voices, fresh voices, rediscovered voices enrich our understanding of not just American literature but of the American experience. At the same time, as Princeton's Eddie Glaude, Jr., reminds us, to understand the present with any real insight, we must also examine the past.","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"85 1","pages":"84 - 86"},"PeriodicalIF":0.1,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46030437","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}
Abstract:Corpus study is a method that is very common in the fields of ESOL and applied linguistics. It is widely used and has a variety of functions, including discovering common collocates (words that often appear together, revealing typical usage and phrases). However, while corpus study is well-known and well-studied, it has remained largely the purview of ESOL, rarely if ever being used in research and in courses intended for writers working in their primary language. The course I taught during the Fall Semester 2019 emphasized genre study and corpus study as ways for the students to understand better a particular genre of writing and to apply this new information to their own work. This relatively novel approach to teaching writing using tools borrowed from applied linguistics opens new possibilities for learning, a fresh intervention into both pedagogy and composition studies.
{"title":"Corpus Linguistics Pedagogy for Native Speakers: Using Corpora to Develop Advanced Writers","authors":"Emily J. Pucker","doi":"10.1353/cea.2023.0002","DOIUrl":"https://doi.org/10.1353/cea.2023.0002","url":null,"abstract":"Abstract:Corpus study is a method that is very common in the fields of ESOL and applied linguistics. It is widely used and has a variety of functions, including discovering common collocates (words that often appear together, revealing typical usage and phrases). However, while corpus study is well-known and well-studied, it has remained largely the purview of ESOL, rarely if ever being used in research and in courses intended for writers working in their primary language. The course I taught during the Fall Semester 2019 emphasized genre study and corpus study as ways for the students to understand better a particular genre of writing and to apply this new information to their own work. This relatively novel approach to teaching writing using tools borrowed from applied linguistics opens new possibilities for learning, a fresh intervention into both pedagogy and composition studies.","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"85 1","pages":"31 - 38"},"PeriodicalIF":0.1,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47129221","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}
Abstract:To be specific, through situating Hemingway's media-embedded narrative in a larger media environment of the 1920s, I argue that the killers construct their earlier menacing situation via performing conventions of cinematic gangsters, which indeed intimates Nick and George. However, their failure of performance in the later part of the story triggers George's reframing of them as the comic duo common in vaudeville that was thematically, stylistically, and spatially interconnected with crime cinema. Such a George-centered rereading supplements Nick's limited reception of the terrifying incident by disclosing it as a construct, and even a bluff. In foregrounding George's mediated framing of the incident in the underdiscussed passages, I intend to highlight the often-overlooked connection between Hemingway's writing and the (multi)media environment and, by extension, to further the study between modernist literature and the first media age beyond the familiar narrative of technique imitation.
{"title":"Gangster Cinema on a Vaudeville Stage: George's Mediated Perception of Reality in Ernest Hemingway's \"The Killers\"","authors":"Wei Feng","doi":"10.1353/cea.2023.0001","DOIUrl":"https://doi.org/10.1353/cea.2023.0001","url":null,"abstract":"Abstract:To be specific, through situating Hemingway's media-embedded narrative in a larger media environment of the 1920s, I argue that the killers construct their earlier menacing situation via performing conventions of cinematic gangsters, which indeed intimates Nick and George. However, their failure of performance in the later part of the story triggers George's reframing of them as the comic duo common in vaudeville that was thematically, stylistically, and spatially interconnected with crime cinema. Such a George-centered rereading supplements Nick's limited reception of the terrifying incident by disclosing it as a construct, and even a bluff. In foregrounding George's mediated framing of the incident in the underdiscussed passages, I intend to highlight the often-overlooked connection between Hemingway's writing and the (multi)media environment and, by extension, to further the study between modernist literature and the first media age beyond the familiar narrative of technique imitation.","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"85 1","pages":"14 - 30"},"PeriodicalIF":0.1,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41952125","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}
W. Clough, Wei Feng, Emily J. Pucker, Richard C. Raymond, D. Terry, Jeraldine R. Kraver, J. Ward, Hyun-Jo Yoo
Abstract:Rather than simply accept the "official" historical record, historiographic metafiction reexamines these records and events in showing different perspectives. This creates a dialogue between the text of the novel and the original texts of history, forcing the reader to examine more closely the texts being presented in both the "official" record and the novel. Two novels that operate along these lines are Kurt Vonnegut's Mother Night (1962), the supposed memoirs of an American who becomes a Nazi officer in Germany during World War II; and Salman Rushdie's Midnight's Children (1981), a novel examining the interwoven histories of the narrator's family and events in the history of India, including independence from Great Britain and the Emergency period under Indira Gandhi. These texts experiment with history by examining how those histories are constructed as memoirs by their character authors as well as what they mean and communicate to their contemporary audiences. By examining the methods by which histories are created and what they communicate to their audiences, Mother Night and Midnight's Children speak directly to the levels of meaning and construction in the histories chosen for re-vision.
{"title":"Re-Vision of History: Historiographic Metafiction in Kurt Vonnegut's Mother Night and Salman Rushdie's Midnight's Children","authors":"W. Clough, Wei Feng, Emily J. Pucker, Richard C. Raymond, D. Terry, Jeraldine R. Kraver, J. Ward, Hyun-Jo Yoo","doi":"10.1353/cea.2023.0000","DOIUrl":"https://doi.org/10.1353/cea.2023.0000","url":null,"abstract":"Abstract:Rather than simply accept the \"official\" historical record, historiographic metafiction reexamines these records and events in showing different perspectives. This creates a dialogue between the text of the novel and the original texts of history, forcing the reader to examine more closely the texts being presented in both the \"official\" record and the novel. Two novels that operate along these lines are Kurt Vonnegut's Mother Night (1962), the supposed memoirs of an American who becomes a Nazi officer in Germany during World War II; and Salman Rushdie's Midnight's Children (1981), a novel examining the interwoven histories of the narrator's family and events in the history of India, including independence from Great Britain and the Emergency period under Indira Gandhi. These texts experiment with history by examining how those histories are constructed as memoirs by their character authors as well as what they mean and communicate to their contemporary audiences. By examining the methods by which histories are created and what they communicate to their audiences, Mother Night and Midnight's Children speak directly to the levels of meaning and construction in the histories chosen for re-vision.","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"85 1","pages":"1 - 113 - 114 - 115 - 13 - 14 - 30 - 31 - 38 - 39 - 57 - 58 - 83 - 84 - 86 - 87 - 88 - 89"},"PeriodicalIF":0.1,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48883735","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}
Abstract:Here, I shall analyze not only Sterne's letters but his sermons deliberative and judicial discourse to his parishioner-friends. In doing so, Sterne created in such texts a gloss of Tristram Shandy and its thematic center: the diseases of pride and malice as well as the cures for these ills found in laughter and friendship (1:19,32;4:401). Even while my analysis will echo the claims of other scholars that these categories of texts parallel the thematic center of his Sterne's fiction, I shall stress that Sterne created what amounts to a thematic gloss from a stance outside his novel. Unlike his fictionwriting contemporaries, whose used letters to drive plot within their novels, Sterne's letter-and-sermon gloss to Tristram Shandy underscores his abiding intent to challenge traditional boundaries between autobiography and fiction.
{"title":"Laurence Sterne's Letters and Sermons: Glossing the Themes of Tristram Shandy","authors":"Richard C. Raymond","doi":"10.1353/cea.2023.0003","DOIUrl":"https://doi.org/10.1353/cea.2023.0003","url":null,"abstract":"Abstract:Here, I shall analyze not only Sterne's letters but his sermons deliberative and judicial discourse to his parishioner-friends. In doing so, Sterne created in such texts a gloss of Tristram Shandy and its thematic center: the diseases of pride and malice as well as the cures for these ills found in laughter and friendship (1:19,32;4:401). Even while my analysis will echo the claims of other scholars that these categories of texts parallel the thematic center of his Sterne's fiction, I shall stress that Sterne created what amounts to a thematic gloss from a stance outside his novel. Unlike his fictionwriting contemporaries, whose used letters to drive plot within their novels, Sterne's letter-and-sermon gloss to Tristram Shandy underscores his abiding intent to challenge traditional boundaries between autobiography and fiction.","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"85 1","pages":"39 - 57"},"PeriodicalIF":0.1,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43212470","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}
On September 22, 1796, Mary Ann Lamb, the sister of famed essayist Charles Lamb, stabbed and killed her mother in a fit of insanity. Surprisingly, she was not sentenced to death for this vicious attack and, instead, spent mere months in a mental asylum before being released into her brother’s care. She would live with Charles off-and-on for the rest of her life. Plagued by mental instability, Mary’s life was marked by both literal—and figurative—violence. Haunted by the fact that she had killed her mother, Mary suffered from frequent nervous breakdowns. However, this violent death opened many opportunities for the young author. Freed from the duty of caring for her mother—who had been an invalid for years—the diagnosis of mental illness gave Mary the opportunity to live with her brother as a dependent, allowing her ample time to read and write. Just eleven years after Mary’s mental breakdown, she and Charles published Tales from Shakespeare (1807), a book that retells William Shakespeare’s plays in prose for children. Of the twenty tales recounted in the book, fourteen were written by Mary. Yet, Mary’s name remained conspicuously absent from the title page until the publication of the seventh edition, an act of symbolic violence against the author that echoes across the ages. In a gross miscarriage of justice, Charles Lamb—rather than his sister Mary—was credited as the author of all twenty Tales, receiving universal acclaim as author, and boosting his prestige as an essayist and noteworthy literary critic. Like other sibling pairings (William and Dorothy Wordsworth spring to mind), the extent to which women influenced and contributed to their brothers’ oeuvre has been the subject of scholarly discourse since the rise of feminist criticism in the late twentieth century. The reason behind the erasure of Mary’s name from the title page of the siblings’ collaborative work remains a mystery, and, notably, the failure to acknowledge Mary’s authorship is not the only form of gendered erasure evident in the Tales. The remainder of this paper examines the Tales through the lens of another form of erasure: the erasure of women’s agency and sexuality from the pages of the Tales.
{"title":"Like a Lamb to the Slaughter: Unjust Censorship in Tales from Shakespeare","authors":"Nina Elisabeth Cook","doi":"10.1353/cea.2022.0033","DOIUrl":"https://doi.org/10.1353/cea.2022.0033","url":null,"abstract":"On September 22, 1796, Mary Ann Lamb, the sister of famed essayist Charles Lamb, stabbed and killed her mother in a fit of insanity. Surprisingly, she was not sentenced to death for this vicious attack and, instead, spent mere months in a mental asylum before being released into her brother’s care. She would live with Charles off-and-on for the rest of her life. Plagued by mental instability, Mary’s life was marked by both literal—and figurative—violence. Haunted by the fact that she had killed her mother, Mary suffered from frequent nervous breakdowns. However, this violent death opened many opportunities for the young author. Freed from the duty of caring for her mother—who had been an invalid for years—the diagnosis of mental illness gave Mary the opportunity to live with her brother as a dependent, allowing her ample time to read and write. Just eleven years after Mary’s mental breakdown, she and Charles published Tales from Shakespeare (1807), a book that retells William Shakespeare’s plays in prose for children. Of the twenty tales recounted in the book, fourteen were written by Mary. Yet, Mary’s name remained conspicuously absent from the title page until the publication of the seventh edition, an act of symbolic violence against the author that echoes across the ages. In a gross miscarriage of justice, Charles Lamb—rather than his sister Mary—was credited as the author of all twenty Tales, receiving universal acclaim as author, and boosting his prestige as an essayist and noteworthy literary critic. Like other sibling pairings (William and Dorothy Wordsworth spring to mind), the extent to which women influenced and contributed to their brothers’ oeuvre has been the subject of scholarly discourse since the rise of feminist criticism in the late twentieth century. The reason behind the erasure of Mary’s name from the title page of the siblings’ collaborative work remains a mystery, and, notably, the failure to acknowledge Mary’s authorship is not the only form of gendered erasure evident in the Tales. The remainder of this paper examines the Tales through the lens of another form of erasure: the erasure of women’s agency and sexuality from the pages of the Tales.","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"84 1","pages":"193 - 201"},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42142657","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}
{"title":"No Timeline is Sacred: The Performance of Power and Authority in Loki","authors":"Kevin Drzakowski","doi":"10.1353/cea.2022.0022","DOIUrl":"https://doi.org/10.1353/cea.2022.0022","url":null,"abstract":"","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"84 1","pages":"209 - 214"},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48083840","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}
{"title":"Water and Light: Erasure and Recovery in the Work of Tracy K. Smith","authors":"C. Kyler","doi":"10.1353/cea.2022.0027","DOIUrl":"https://doi.org/10.1353/cea.2022.0027","url":null,"abstract":"","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"84 1","pages":"240 - 245"},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44745911","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}
{"title":"Editor’s Introduction: The Greatest City in Alabam’","authors":"Jeraldine R. Kraver","doi":"10.1353/cea.2022.0031","DOIUrl":"https://doi.org/10.1353/cea.2022.0031","url":null,"abstract":"","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"84 1","pages":"ix - v"},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43051338","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}
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