Literature Compass最新文献

This article is about why Africa is overlooked in eighteenth-century literary studies. Africa’s neglect is not merely a problem of attention. Neither the parameters of the field nor the tools of the discipline appear particularly suited for engaging Africa as anything other than an invention of the European imagination. In what follows, I seek to bring more clarity to the origins of this paradox and to contextualize some of its governing assumptions not in order to solve it but to show that having already solved it can’t and doesn’t need to be a prerequisite for scholars of eighteenth-century literature to face it head-on. The first section offers a brief account of how this paradox arose from the political and intellectual matrix of the mid-twentieth century when African Studies was first institutionalized in the West. The subsequent sections highlight the way this history has shaped—both directly and indirectly—the way scholars and teachers of eighteenth-century literature have understood Africa and their obligations to it and suggests some ways we might begin to rethink Africa’s place in the field

This essay seeks to examine how Ursula K. Le Guin's science fiction short story “Coming of Age in Karhide” (1995) set in the planet of Gethen in the fictional Hainish universe envisions a political utopia of sequentially hermaphroditic humans to offer a succinct critique of traditional gender roles and conventional sexual customs while celebrating the potential of collective responsibility. While maintaining that the recent scholarship on queer utopias in SF has largely geared toward posthumanist articulations, the present essay argues that Ursula K. Le Guin who laid the genre conventions of queer utopic narratives unabashedly places her short story “Coming of Age in Karhide” within the ideals of humanism by upholding community as a unifying entity, at the same time carefully avoiding the pitfalls of anthropocentrism. Drawing from queer theorists and social scientists, this essay, while exemplifying the implications of a futuristic gender-neutral society, albeit partially, examines Le Guin's celebration of community collectivism in “Coming of Age in Karhide” to argue that the integration with the values and expectations of the larger community occasions individual growth and identity formation of the teenage protagonist and thereby, attests to the author's humanistic temperament.

The notion of “New Sincerity” has become central to the study of David Foster Wallace's prose over the years. The present article explores how the tonal arrangement that characterises the movement has lived on to influence contemporary art, examining Bo Burnham's popular comedy musicals as a notable example of this influence. Wallace and Burnham's common stance concerning cultural reception is argued to be indissociable from their socio-cultural setting, with the two authors articulating parallel responses to an ongoing, multifaceted process of massification of public opinion, as well as to the consequences to cultural poiesis therein entailed.

In March 2022, we launched the Victorian Jewish Writers Project (VJWP), a digital collection of texts written by nineteenth-century British Jews accompanied by short articles on significant authors, places, and events of the Anglo-Jewish world. When we began building the collection in 2021, our conceptual framework was clear: Victorian Jewry is underrepresented both in Jewish Studies and Victorian Studies, so we would create a resource to supply primary texts and some analytical information to anyone interested. Despite our familiarity with archive theory, we considered our role in the project as little more than what Latour calls intermediaries, or “mere informants.” Yet, the process of digitizing and publicizing a canon, particularly a canon tied to a cultural heritage, is an inherently social act, and in this article we will explore the modes of social engagement inherent in creating and maintaining digital archives. In particular, we make use of Latour’s actor-network theory to understand the relationships forged by archives in digital spaces.

Eyles Irwin (1751–1817), an East India Company official who spent much of his life in the British settlement of Fort St. George, Madras, was one of the earliest practitioners of anglophone belles lettres in the Indian subcontinent, and his writings predate the development of a robust culture of English-language literary composition in the colony by quite a few years. The scant scholarly attention he has received belies his importance as an anticipator of the momentous literary-historical processes that would transform India's public sphere in the 19th century. This essay offers a contextual reading of Saint Thomas's Mount (1774), his earliest extant poem, which is avowedly modelled on canonical English topographical poems like Alexander Pope's Windsor-Forest (1713) and makes use of a host of neoclassical conventions, but which also differs from them in terms of the kind of landscape that is represented (Irwin's is a tropical landscape, with abundant mangoes, palms, and Oriental fauna, unlike Pope's pleasant, idyllic British park). However, Irwin's target readership being chiefly metropolitan, he contends with the difficulty of highlighting India's irreducible foreignness while simultaneously trying to ensure that readers in London do not find the Oriental descriptions too alien, incredible, and unrelatable. The authorial strategies he adopts to navigate this difficulty constitute the focus of the first part of the essay. The second (and final) part seeks to shed light on his hybrid, hyphenated identity as an Indian-born Irish poet, and on his perception of himself as somehow fundamentally unlike those Britons who never ventured beyond the geographical confines of Europe, let alone setting down roots in places on the very fringes of the British empire. The affiliative bonds he forges with expatriate colonial officials living in and confronting the hardships of life in the monsoonal tropics mark him as a member of the steadily growing community of Anglo-Indians in the Indian subcontinent. While noting the shifting connotations of the term ‘Anglo-Indian’ in the 18th and 19th centuries, this essay will also examine the implications of identifying Irwin as a member of this initially amorphous but steadily growing community.