Pub Date : 2020-12-01DOI: 10.1215/00166928-8847227
Alexis Chema
{"title":"The Connected Condition: Romanticism and the Dream of Communication","authors":"Alexis Chema","doi":"10.1215/00166928-8847227","DOIUrl":"https://doi.org/10.1215/00166928-8847227","url":null,"abstract":"","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"261 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82964833","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 : 2020-12-01DOI: 10.1215/00166928-8847240
B. Parker
{"title":"The Order of Forms: Realism, Formalism, and Social Space","authors":"B. Parker","doi":"10.1215/00166928-8847240","DOIUrl":"https://doi.org/10.1215/00166928-8847240","url":null,"abstract":"","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90612796","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 : 2020-07-01DOI: 10.1215/00166928-8562695
Aaron R. Hanlon
{"title":"The Experimental Imagination: Literary Knowledge and Science in the British Enlightenment by Tita Chico","authors":"Aaron R. Hanlon","doi":"10.1215/00166928-8562695","DOIUrl":"https://doi.org/10.1215/00166928-8562695","url":null,"abstract":"","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75704730","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 : 2020-04-01DOI: 10.1215/00166928-8210789
Benjamin Pickford
{"title":"A Political Economy of Modernism: Literature, Post-classical Economics, and the Lower Middle-Class by Ronald Schleifer","authors":"Benjamin Pickford","doi":"10.1215/00166928-8210789","DOIUrl":"https://doi.org/10.1215/00166928-8210789","url":null,"abstract":"","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"72 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80040609","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 : 2020-04-01DOI: 10.1215/00166928-8210776
B. Bergholtz
The author argues that Zia Haider Rahman’s In the Light of What We Know (2014) is an encyclopedic narrative that encourages and interrogates the pursuit of knowledge. Rahman achieves this feat by creating a deceptive dialogue revolving around knowledge and narrative. While his characters’ analysis of everything from America’s intervention in Afghanistan to Gödel’s incompleteness theorem illustrates the ways in which the light of history, metaphor, and narrative (mis) shape the pursuit of knowledge, our own knowledge is limited by the history and metaphors of our twin narrators. The conflict between the search for knowledge and the inadequacies of narrative would appear to doom the encyclopedism of Rahman’s characters and readers alike, but the novel complicates this conclusion. Rather than refuting or embracing the pursuit of knowledge, In the Light fosters a uniquely postcolonial approach to encyclopedism that is simultaneously curious and cautious, polymathic and prudent, wide-reaching and reflective. This “postcolonial encyclopedism,” as he calls it, helps us recognize that encyclopedic narrative, a genre long associated with the giants of European and American literature, may be a potentially empowering, if ambivalent, mode of inquiry for postcolonial and global authors in the twenty-first century.
{"title":"The “Pursuit of Knowledge” and the Paradoxes of Postcolonial Encyclopedism in Zia Haider Rahman’s In the Light of What We Know","authors":"B. Bergholtz","doi":"10.1215/00166928-8210776","DOIUrl":"https://doi.org/10.1215/00166928-8210776","url":null,"abstract":"The author argues that Zia Haider Rahman’s In the Light of What We Know (2014) is an encyclopedic narrative that encourages and interrogates the pursuit of knowledge. Rahman achieves this feat by creating a deceptive dialogue revolving around knowledge and narrative. While his characters’ analysis of everything from America’s intervention in Afghanistan to Gödel’s incompleteness theorem illustrates the ways in which the light of history, metaphor, and narrative (mis) shape the pursuit of knowledge, our own knowledge is limited by the history and metaphors of our twin narrators. The conflict between the search for knowledge and the inadequacies of narrative would appear to doom the encyclopedism of Rahman’s characters and readers alike, but the novel complicates this conclusion. Rather than refuting or embracing the pursuit of knowledge, In the Light fosters a uniquely postcolonial approach to encyclopedism that is simultaneously curious and cautious, polymathic and prudent, wide-reaching and reflective. This “postcolonial encyclopedism,” as he calls it, helps us recognize that encyclopedic narrative, a genre long associated with the giants of European and American literature, may be a potentially empowering, if ambivalent, mode of inquiry for postcolonial and global authors in the twenty-first century.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75491449","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 : 2019-07-01DOI: 10.1215/00166928-7585867
Peter Kratzke
Comparing Ambrose Bierce’s “An Occurrence at Owl Creek Bridge” (as framed by Bierce’s illuminating philosophical attitude) with the Frenchman Robert Enrico’s film adaptation (how his adaptation decisions are manifest in the film) and Rod Serling’s use of that film for an episode of The Twilight Zone (as the show’s cultural context was and is perfect for the task) reveals afresh that mood (involving an author’s attitude toward content) is necessarily more important than genre (involving content itself) when narrative content approaches the unknowable. What perhaps surprises in this comparison is that, arguably, Bierce’s short story is the least dark of the three versions of what may be called the mood and genre of sardonic death, for it only denounces (especially in terms of free will versus determinism) the doomed man, while Enrico’s film elicits sympathy and Serling’s episode empathy.
比较安布罗斯·比尔斯(Ambrose Bierce)的《猫头鹰溪桥事件》(An Occurrence at Owl Creek Bridge)(以比尔斯富有启启性的哲学态度为框架)与法国人罗伯特·恩里科(Robert Enrico)的电影改编(他的改编决定在电影中是如何体现的)，以及罗德·塞林(Rod Serling)将这部电影用于《暮光之城》(the Twilight Zone)的一集(这部剧的文化背景过去和现在都非常适合这项任务)的做法，我们会重新发现，情绪(包括作者对内容的态度)必然比类型(包括内容)更重要当叙述内容接近不可知时。这种对比也许令人惊讶的是，可以说，比尔斯的短篇小说是三个版本中最不黑暗的，可以被称为讽刺死亡的情绪和类型，因为它只是谴责(特别是在自由意志与决定论方面)注定要失败的人，而恩里科的电影引起了同情，塞林的情节引起了同情。
{"title":"Dark, Darker, Darkest: The Mood and Genre of Sardonic Death in “An Occurrence at Owl Creek Bridge” as Told by Ambrose Bierce, Robert Enrico, and Rod Serling","authors":"Peter Kratzke","doi":"10.1215/00166928-7585867","DOIUrl":"https://doi.org/10.1215/00166928-7585867","url":null,"abstract":"Comparing Ambrose Bierce’s “An Occurrence at Owl Creek Bridge” (as framed by Bierce’s illuminating philosophical attitude) with the Frenchman Robert Enrico’s film adaptation (how his adaptation decisions are manifest in the film) and Rod Serling’s use of that film for an episode of The Twilight Zone (as the show’s cultural context was and is perfect for the task) reveals afresh that mood (involving an author’s attitude toward content) is necessarily more important than genre (involving content itself) when narrative content approaches the unknowable. What perhaps surprises in this comparison is that, arguably, Bierce’s short story is the least dark of the three versions of what may be called the mood and genre of sardonic death, for it only denounces (especially in terms of free will versus determinism) the doomed man, while Enrico’s film elicits sympathy and Serling’s episode empathy.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90462906","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 : 2019-07-01DOI: 10.1215/00166928-7585880
M. J. Phillips
Following Henry James, literary-critical practices presume the autonomy and integrity of the literary text. The roman à clef meanwhile troubles this autonomy by presuming a transparent and concrete relation between text and world. By turning to the late nineteenth-century writer Vernon Lee, who elevates reference as a vital principle of all literary representation, this essay argues that the roman à clef challenges our assumptions about the value of reference. Lee’s novel Miss Brown (1884), a roman à clef about British aestheticism, is treated as a privileged case study for reading this alternative history of the novel. By focusing on the provisionality of literature, which Lee calls a “half-art,” this essay argues that literature’s reference to an external context provides a point of departure for thinking about women’s disempowerment and vulnerability in late nineteenth-century British culture. At the same time, it argues that provisionality offers a model for considering the broader consequences of limitation and determination in the history of the novel.
{"title":"Vernon Lee’s Hideous Roman à Clef","authors":"M. J. Phillips","doi":"10.1215/00166928-7585880","DOIUrl":"https://doi.org/10.1215/00166928-7585880","url":null,"abstract":"Following Henry James, literary-critical practices presume the autonomy and integrity of the literary text. The roman à clef meanwhile troubles this autonomy by presuming a transparent and concrete relation between text and world. By turning to the late nineteenth-century writer Vernon Lee, who elevates reference as a vital principle of all literary representation, this essay argues that the roman à clef challenges our assumptions about the value of reference. Lee’s novel Miss Brown (1884), a roman à clef about British aestheticism, is treated as a privileged case study for reading this alternative history of the novel. By focusing on the provisionality of literature, which Lee calls a “half-art,” this essay argues that literature’s reference to an external context provides a point of departure for thinking about women’s disempowerment and vulnerability in late nineteenth-century British culture. At the same time, it argues that provisionality offers a model for considering the broader consequences of limitation and determination in the history of the novel.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"172 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74810225","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 : 2019-07-01DOI: 10.1215/00166928-7585854
Kristina Quynn
This essay presents an analysis of narratives of contingency in the contemporary academic novel, particularly the mode of the “adjunctroman.” It contends that adjunct protagonists frustrate the most recognizable mode of academic fiction—the “Professorroman”—with sagas of a Sisyphean lack of progress, unsympathetic or abjectified antiheroes, and tales of instructional drudgery and intellectual woe. Such recent academic fiction may be self-published and may feature protagonists who are adjuncts, non-tenure-track faculty, or workers just passing through the ivory tower on their way to better employment elsewhere. Providing readings of novels by well-known writers of academic fiction such as James Hynes and Alex Kudera alongside lesser known authors such as Geoff Cebula, Gordon Haber, J. Hayes Hurley, and Julia Keefer, the essay ultimately argues that the adjunctroman reveals and at its best revels in the “crises” of higher education to begin imagining the twenty-first-century professoriat anew.
{"title":"Drudgery Tales, Abjectified Protagonists, and Speculative Modes in the Adjunctroman of Contemporary Academic Fiction","authors":"Kristina Quynn","doi":"10.1215/00166928-7585854","DOIUrl":"https://doi.org/10.1215/00166928-7585854","url":null,"abstract":"This essay presents an analysis of narratives of contingency in the contemporary academic novel, particularly the mode of the “adjunctroman.” It contends that adjunct protagonists frustrate the most recognizable mode of academic fiction—the “Professorroman”—with sagas of a Sisyphean lack of progress, unsympathetic or abjectified antiheroes, and tales of instructional drudgery and intellectual woe. Such recent academic fiction may be self-published and may feature protagonists who are adjuncts, non-tenure-track faculty, or workers just passing through the ivory tower on their way to better employment elsewhere. Providing readings of novels by well-known writers of academic fiction such as James Hynes and Alex Kudera alongside lesser known authors such as Geoff Cebula, Gordon Haber, J. Hayes Hurley, and Julia Keefer, the essay ultimately argues that the adjunctroman reveals and at its best revels in the “crises” of higher education to begin imagining the twenty-first-century professoriat anew.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90628301","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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