Abstract:This essay explores the early circulation history of Hope Mirrlees's Paris. Published by the Hogarth Press in 1920, Paris was neglected for nearly ninety years, though it has recently been republished and reevaluated. By examining the surviving Hogarth Press order book, the essay shows that Paris, unlike more famous works by T. S. Eliot or Ezra Pound, rarely reached readers who might have appreciated and advertised its poetic experiments. The essay uses this history to reflect on what sort of poem Paris was in 1920, and what circulation history means more broadly for criticism's recovery of forgotten modernist poems.
{"title":"Who Bought Paris? Hope Mirrlees, the Hogarth Press, and the Circulation of Modernist Poetry","authors":"Sean Pryor","doi":"10.1353/elh.2021.0031","DOIUrl":"https://doi.org/10.1353/elh.2021.0031","url":null,"abstract":"Abstract:This essay explores the early circulation history of Hope Mirrlees's Paris. Published by the Hogarth Press in 1920, Paris was neglected for nearly ninety years, though it has recently been republished and reevaluated. By examining the surviving Hogarth Press order book, the essay shows that Paris, unlike more famous works by T. S. Eliot or Ezra Pound, rarely reached readers who might have appreciated and advertised its poetic experiments. The essay uses this history to reflect on what sort of poem Paris was in 1920, and what circulation history means more broadly for criticism's recovery of forgotten modernist poems.","PeriodicalId":46490,"journal":{"name":"ELH","volume":"11 1","pages":"1055 - 1082"},"PeriodicalIF":0.5,"publicationDate":"2021-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83394615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Even as Louise Erdrich mounts her exposé of the woeful legal situation governing Indigenous peoples in The Round House, the novel suggests a way forward in its chapter titles (almost all borrowed from Star Trek: The Next Generation). Only by listening to the resonances between the narration and the TNG intertext to which its chapter titles allude can we understand the ways young Joe formulates out of his personal trauma an ethical critique of his people’s legal conditions, a theory and model for forging justice from within that condition, and a path toward healing the trauma he suffers.
{"title":"“Where No One Has Gone Before”: Louise Erdrich’s The Round House and its Star Trek Intertext","authors":"S. Gates","doi":"10.1353/elh.2021.0030","DOIUrl":"https://doi.org/10.1353/elh.2021.0030","url":null,"abstract":"Abstract:Even as Louise Erdrich mounts her exposé of the woeful legal situation governing Indigenous peoples in The Round House, the novel suggests a way forward in its chapter titles (almost all borrowed from Star Trek: The Next Generation). Only by listening to the resonances between the narration and the TNG intertext to which its chapter titles allude can we understand the ways young Joe formulates out of his personal trauma an ethical critique of his people’s legal conditions, a theory and model for forging justice from within that condition, and a path toward healing the trauma he suffers.","PeriodicalId":46490,"journal":{"name":"ELH","volume":"23 1","pages":"795 - 820"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90787229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay offers a fresh analysis of Ottobah Cugoano’s Thoughts and Sentiments on the Evil and Wicked Traffic of Slavery (1787), an abolitionist text still best known for its radical call to end the slave trade and free all enslaved laborers. Next to no scholarship addresses Cugoano’s Calvinist commitments, largely because Calvinist thought has long seemed inextricable from proslavery politics. Cugoano belongs, however, at the forefront of a group of eighteenth-century Black Anglophone writers who both shared the predestinarian theology of George Whitefield and Selina Hastings, Countess of Huntingdon, and turned it to their own literary and cultural ends: not a Calvinism that landed on Black people, then, but one actively produced by them, a Black Calvinism. I focus on Cugoano’s racial hermeneutics--the highly developed figural method of biblical interpretation on which his antislavery logic relies--and I ask whether his neglected brand of Calvinism belongs to a longer genealogy of Afropessimism, a framework that has sparked vibrant literary production and theoretical reflection in the twenty-first century.
{"title":"Cugoano and the Hermeneutics of Black Calvinism","authors":"Dustin D. Stewart","doi":"10.1353/elh.2021.0024","DOIUrl":"https://doi.org/10.1353/elh.2021.0024","url":null,"abstract":"Abstract:This essay offers a fresh analysis of Ottobah Cugoano’s Thoughts and Sentiments on the Evil and Wicked Traffic of Slavery (1787), an abolitionist text still best known for its radical call to end the slave trade and free all enslaved laborers. Next to no scholarship addresses Cugoano’s Calvinist commitments, largely because Calvinist thought has long seemed inextricable from proslavery politics. Cugoano belongs, however, at the forefront of a group of eighteenth-century Black Anglophone writers who both shared the predestinarian theology of George Whitefield and Selina Hastings, Countess of Huntingdon, and turned it to their own literary and cultural ends: not a Calvinism that landed on Black people, then, but one actively produced by them, a Black Calvinism. I focus on Cugoano’s racial hermeneutics--the highly developed figural method of biblical interpretation on which his antislavery logic relies--and I ask whether his neglected brand of Calvinism belongs to a longer genealogy of Afropessimism, a framework that has sparked vibrant literary production and theoretical reflection in the twenty-first century.","PeriodicalId":46490,"journal":{"name":"ELH","volume":"11 1","pages":"629 - 659"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89912753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article argues that romantic-era antiquarian writing from Ireland threatened to disclose evidence of historical violence inflicted upon the Irish by the English, and to engender retaliatory violence in the present day. Even when Irish landscapes appeared inscrutable, their impassiveness peculiarly confirmed, rather than disproved, a violent imperial past. Beginning with a consideration of Edmund Burke’s emphatic but little studied contempt for antiquarian history, the article proceeds to explore how James Hardiman sought to recuperate Ireland’s history from its forcibly erased landscapes. The essay concludes by arguing that in The Wild Irish Girl (1806), Sydney Owenson compares her Irish setting to a dizzying array of British overseas colonies and strategic holdings, so that Ireland functions as a dark mirror of insatiable imperial ambition.
{"title":"The Silence of the Land: Antiquarian Gothic and Ireland, 1790–1831","authors":"T. Heimlich","doi":"10.1353/elh.2021.0025","DOIUrl":"https://doi.org/10.1353/elh.2021.0025","url":null,"abstract":"Abstract:This article argues that romantic-era antiquarian writing from Ireland threatened to disclose evidence of historical violence inflicted upon the Irish by the English, and to engender retaliatory violence in the present day. Even when Irish landscapes appeared inscrutable, their impassiveness peculiarly confirmed, rather than disproved, a violent imperial past. Beginning with a consideration of Edmund Burke’s emphatic but little studied contempt for antiquarian history, the article proceeds to explore how James Hardiman sought to recuperate Ireland’s history from its forcibly erased landscapes. The essay concludes by arguing that in The Wild Irish Girl (1806), Sydney Owenson compares her Irish setting to a dizzying array of British overseas colonies and strategic holdings, so that Ireland functions as a dark mirror of insatiable imperial ambition.","PeriodicalId":46490,"journal":{"name":"ELH","volume":"2003 1","pages":"661 - 684"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86235316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In the thirteenth century, a theory of media arises from a new science of sense perception that understands natural elements like air and water as media. Geoffrey Chaucer takes up this theory in his poem The House of Fame to suggest a homology between environmental media and the aesthetic media that transmit words and images: a brass tablet, a rock made of ice, the glass of painted windows. Like these surfaces, both the narrator’s body and certain natural elements mediate content, implicitly creating a medieval media theory that unites scientific and communicative concepts of media to theorize the work of art as a production of perceptual mediation. This premodern media theory refutes media histories, both progressive and archaeological, that figure the Middle Ages as static or latent, and anticipates newer theories of ambient, distributed media networks.
摘要:13世纪，将空气、水等自然元素理解为媒介的一门新的感官知觉科学产生了媒介理论。Geoffrey Chaucer在他的诗《The House of Fame》中采用了这一理论，暗示环境媒介和传播文字和图像的美学媒介之间的同源性:一块铜板，一块冰做的石头，彩绘窗户的玻璃。就像这些表面一样，叙述者的身体和某些自然元素都调解了内容，隐含地创造了一种中世纪媒体理论，它将媒体的科学和传播概念结合起来，将艺术作品理论化为感知中介的产物。这种前现代媒体理论驳斥了将中世纪视为静态或潜在的进步和考古媒体史，并预测了环境分布式媒体网络的新理论。
{"title":"Ambient Media and Chaucer’s House of Fame","authors":"Ingrid L. Nelson","doi":"10.1353/elh.2021.0021","DOIUrl":"https://doi.org/10.1353/elh.2021.0021","url":null,"abstract":"Abstract:In the thirteenth century, a theory of media arises from a new science of sense perception that understands natural elements like air and water as media. Geoffrey Chaucer takes up this theory in his poem The House of Fame to suggest a homology between environmental media and the aesthetic media that transmit words and images: a brass tablet, a rock made of ice, the glass of painted windows. Like these surfaces, both the narrator’s body and certain natural elements mediate content, implicitly creating a medieval media theory that unites scientific and communicative concepts of media to theorize the work of art as a production of perceptual mediation. This premodern media theory refutes media histories, both progressive and archaeological, that figure the Middle Ages as static or latent, and anticipates newer theories of ambient, distributed media networks.","PeriodicalId":46490,"journal":{"name":"ELH","volume":"84 1","pages":"551 - 578"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74085746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In the latter part of the nineteenth century, transatlantic consumer culture celebrated two kinds of minstrelsy. One mode, associated in Ireland especially with Thomas Moore’s Irish Melodies, involved the reproduction of “national” melodies with the substitutions of Standard English lyrics and European musical style. The other, associated especially with “Christy Minstrels,” was that of blackface performance. Contemporary criticism almost always treats these minstrelsies separately, but James Joyce’s writings intertwines them, especially in “The Dead” and in Ulysses, where Joyce animates the punning play of Moore and the Moor: Thomas Moore and Othello. Joyce’s treatment of blackface minstrelsy--especially minstrel productions of Othello--as an inseparable counterpart of Irish minstrelsy produces an Othello-inflected reading of Ulysses as an alternative to the critical tradition of reading Joyce’s Shakespearean intertexts primarily through Hamlet.
{"title":"Blackface Othellos and Irish Melodies: James Joyce’s Minstrelsies","authors":"Erik Simpson","doi":"10.1353/elh.2021.0027","DOIUrl":"https://doi.org/10.1353/elh.2021.0027","url":null,"abstract":"Abstract:In the latter part of the nineteenth century, transatlantic consumer culture celebrated two kinds of minstrelsy. One mode, associated in Ireland especially with Thomas Moore’s Irish Melodies, involved the reproduction of “national” melodies with the substitutions of Standard English lyrics and European musical style. The other, associated especially with “Christy Minstrels,” was that of blackface performance. Contemporary criticism almost always treats these minstrelsies separately, but James Joyce’s writings intertwines them, especially in “The Dead” and in Ulysses, where Joyce animates the punning play of Moore and the Moor: Thomas Moore and Othello. Joyce’s treatment of blackface minstrelsy--especially minstrel productions of Othello--as an inseparable counterpart of Irish minstrelsy produces an Othello-inflected reading of Ulysses as an alternative to the critical tradition of reading Joyce’s Shakespearean intertexts primarily through Hamlet.","PeriodicalId":46490,"journal":{"name":"ELH","volume":"150B 1","pages":"715 - 742"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73119571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay considers how Rachel Carson’s writing adapts the political framework and literary conventions of a liberal public sphere. This framework is most conspicuously evident in Carson’s use of the vocabulary of rights; however, the legacy of public sphere discourse also appears in her attempts to dilate the conceptual borders for what would be considered public. Her representations of the world and ecological interdependence expand the very idea of publicity. In turn, her work is also important to a new development in the postwar era: the idea of environmental rights. Through lyrical evocations of the natural world and an insistence on aesthetic appreciation, Carson imagines collective forms of affiliation with a nonhuman world characterized by what she calls a “sense of wonder.” This aesthetic sensibility animates Carson’s expansion of the moral-political language of rights.
{"title":"Rachel Carson, Environmental Rights, and the Publicity of Aesthetic Judgments","authors":"Benjamin Mangrum","doi":"10.1353/elh.2021.0029","DOIUrl":"https://doi.org/10.1353/elh.2021.0029","url":null,"abstract":"Abstract:This essay considers how Rachel Carson’s writing adapts the political framework and literary conventions of a liberal public sphere. This framework is most conspicuously evident in Carson’s use of the vocabulary of rights; however, the legacy of public sphere discourse also appears in her attempts to dilate the conceptual borders for what would be considered public. Her representations of the world and ecological interdependence expand the very idea of publicity. In turn, her work is also important to a new development in the postwar era: the idea of environmental rights. Through lyrical evocations of the natural world and an insistence on aesthetic appreciation, Carson imagines collective forms of affiliation with a nonhuman world characterized by what she calls a “sense of wonder.” This aesthetic sensibility animates Carson’s expansion of the moral-political language of rights.","PeriodicalId":46490,"journal":{"name":"ELH","volume":"27 1","pages":"765 - 793"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80224481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The difficulties of reading William Empson’s prose are almost universally acknowledged, but the explanations, defenses, or excuses for his wilfulness vary greatly. This essay argues that Empson’s title words “types” and especially “structure” have often misled readers. By scrutinizing key terms in his vocabulary (including structure, bundle, puzzle, and process), the essay concludes that complexity is his goal, rather than, say, pastoral ease. The aim of his writing, throughout his career, is an understanding of the pressures of life in a multi-voiced, democratic society.
{"title":"Reading Empson: The Structure of Complex Words","authors":"Marshall Brown","doi":"10.1353/elh.2021.0028","DOIUrl":"https://doi.org/10.1353/elh.2021.0028","url":null,"abstract":"Abstract:The difficulties of reading William Empson’s prose are almost universally acknowledged, but the explanations, defenses, or excuses for his wilfulness vary greatly. This essay argues that Empson’s title words “types” and especially “structure” have often misled readers. By scrutinizing key terms in his vocabulary (including structure, bundle, puzzle, and process), the essay concludes that complexity is his goal, rather than, say, pastoral ease. The aim of his writing, throughout his career, is an understanding of the pressures of life in a multi-voiced, democratic society.","PeriodicalId":46490,"journal":{"name":"ELH","volume":"39 1","pages":"743 - 764"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89131443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Drawing on Henry David Thoreau’s botanical sketches, translation notebooks, and essays on migrant dwelling, this article reads Thoreau’s ecology in the context of his engagements with Asian literature. According to Thoreau, poetry relinquishes independent subject-agency like plants, is regenerative like air, and resists stabilized meaning like celestial bodies. The article proposes an econational method of engaging with global literature that is developed through Thoreau’s theories of texts as unstable oikoi (oikos being the root of eco) and nations as contingent communities. I argue that his poetics models the relations between texts and readers as open-ended networks rather than linear appropriations, and thus stands in contrast to transnational writing that preserves localized identities in the processes of exchange.
{"title":"Thoreau’s Econational Poetics","authors":"Denise Xu","doi":"10.1353/elh.2021.0026","DOIUrl":"https://doi.org/10.1353/elh.2021.0026","url":null,"abstract":"Abstract:Drawing on Henry David Thoreau’s botanical sketches, translation notebooks, and essays on migrant dwelling, this article reads Thoreau’s ecology in the context of his engagements with Asian literature. According to Thoreau, poetry relinquishes independent subject-agency like plants, is regenerative like air, and resists stabilized meaning like celestial bodies. The article proposes an econational method of engaging with global literature that is developed through Thoreau’s theories of texts as unstable oikoi (oikos being the root of eco) and nations as contingent communities. I argue that his poetics models the relations between texts and readers as open-ended networks rather than linear appropriations, and thus stands in contrast to transnational writing that preserves localized identities in the processes of exchange.","PeriodicalId":46490,"journal":{"name":"ELH","volume":"73 1","pages":"685 - 713"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88513092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Around 1750, the word “philology” started to appear more and more often in English texts. To explain why, this article examines how writers of the time invoked philology and its derived terms. In today’s histories of philology, the time before 1780 is often a prelude to philology’s custodianship of language study in the nineteenth century and its transformation into the humanities; thus, philological practices prefiguring those later developments are thrust to the foreground. However, from the beginning of the eighteenth century until the 1780s, philology was about the origin and progress of any part of knowledge, a tradition this article ultimately traces to the literary history outlined by Francis Bacon in 1605. Missing from the history of philology as it currently stands, this once-prevalent philology of knowledge offers lessons for those who ponder the resonances between philology and literary studies today.
{"title":"Philology and the Progress of Knowledge in the Mid-Eighteenth Century","authors":"Luke McMullan","doi":"10.1353/elh.2021.0023","DOIUrl":"https://doi.org/10.1353/elh.2021.0023","url":null,"abstract":"Abstract:Around 1750, the word “philology” started to appear more and more often in English texts. To explain why, this article examines how writers of the time invoked philology and its derived terms. In today’s histories of philology, the time before 1780 is often a prelude to philology’s custodianship of language study in the nineteenth century and its transformation into the humanities; thus, philological practices prefiguring those later developments are thrust to the foreground. However, from the beginning of the eighteenth century until the 1780s, philology was about the origin and progress of any part of knowledge, a tradition this article ultimately traces to the literary history outlined by Francis Bacon in 1605. Missing from the history of philology as it currently stands, this once-prevalent philology of knowledge offers lessons for those who ponder the resonances between philology and literary studies today.","PeriodicalId":46490,"journal":{"name":"ELH","volume":"1 1","pages":"605 - 627"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90898377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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