Faculty Bookshelf by Essay Collections

With its epicenter in New York City’s Harlem neighborhood, the Harlem Renaissance was a singularly
influential period of African American history. A cultural revolution that combined artistic expression
with political activism, the movement would help to heighten social consciousness and foster racial pride.
A Companion to the Harlem Renaissance presents a comprehensive guide to the literature and culture of
the unprecedented artistic flourishing that took place in the African diasporic community of the United
States from the end of World War I to the middle of the 1930s. Featuring original contributions from eminent and emerging scholars of the era, chapters critically explore numerous themes relating to the origins, evolution, aesthetics, genres, and historical contexts of the Harlem Renaissance. Combining primary texts and contemporaneous accounts with innovative new perspectives, initial essays explore the historic and philosophical underpinnings of the “New Negro” Movement, followed by selections addressing canonical authors and minor writers who emerged during the period. Further essays examine salon culture and the influence of music and dance on literature; themes relating to race, identity, and sexual politics; and the Harlem Renaissance as a global movement. A final series of essays considers the enduring influence of the Harlem Renaissance in the latter twentieth century and into the new millennium. Combining a remarkable breadth of coverage with impeccable scholarship presented in an engaging manner, A Companion to the Harlem Renaissance is an essential resource to understanding this
transformative time in black history.

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This collection displays the fascinating range of intellectual possibilities generated by representations of these medieval ‘objects,’ and through the interdisciplinary collaboration of its contributors produces a fresh view of the multiple intersections of the spiritual and the material in the Middle Ages and Renaissance. It also includes a new and authoritative critical edition of the Middle English Arma Christi poem known as ‘O Vernicle’ that takes account of all twenty surviving manuscripts.

The book opens with a substantial introduction that surveys previous scholarship and situates the Arma in their historical and aesthetic contexts. The ten essays that follow explore representative examples of the instruments of the Passion across a broad swath of history, from some of their earliest formulations in late antiquity to their reformulations in early modern Europe. Together, they offer the first large-scale attempt to understand the arma Christi as a unique cultural phenomenon of its own, one that resonated across centuries in multiple languages, genres, and media. The collection directs particular attention to this array of implements as an example of the potency afforded material objects in medieval and early modern culture, from the glittering nails of the Old English poem Elene to the coins of the Middle English poem ‘Sir Penny,’ from garments and dice on Irish tomb sculptures to lanterns and ladders in Hieronymus Bosch’s panel painting of St. Christopher, and from the altar of the Sistine Chapel to the printed prayer books of the reformation.

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How do we approach the rich field of nineteenth-century American literature? How might we recalibrate the coordinates of critical vision and open up new areas of investigation? To answer such questions, this volume brings together 23 original essays written by leading scholars in American literary studies. By examining specific novels, poems, essays, diaries and other literary examples, the authors confront head-on the implications, scope, and scale of their analysis. The chapters foreground methodological concerns to assess the challenges of transnational perspectives, disability studies, environmental criticism, affect studies, gender analysis, and other cutting-edge approaches. The Oxford Handbook of Nineteenth-Century American Literature is thus both critically incisive and sharply practical, inviting attention to how readers read,how critics critique, and how interpreters interpret. It offers forceful strategies for rethinking protest novels, women’s writing, urban literature, slave narratives, and popular fiction, just to name a few of the wide array of topics and genres covered. This volume, rather than surveying established ideas in studies of nineteenth-century American literature, registers what is happening now and anticipates what will shape the field’s future.

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This volume explores the interplay of syntactic variation and genre. How do genres emerge and what is the role of syntax in constituting them? Why do certain constructions appear in certain types of text? The book takes the concept of genre as a reference-point for the description and analysis of morpho-syntactic variation and change. It includes both overviews of theoretical approaches to the concept of genre and text type in linguistics and studies of specific syntactic phenomena in English, German, and selected Romance languages. Contributions to the volume make use of insights from attempts for text classification and rhetorical views on genre and reach from quantitative, corpus-based methodology to qualitative, text-based analyses. The types of texts investigated cover spoken, highly interactive, and written forms of communication, including selected genres of computer-mediated communication. Corpus data come from both synchronic and diachronic linguistic corpora, such as LOB, Brown, FLOB, Frown, ARCHER, and ICE-Jamaica. This spectrum both in approaches and data is meant to provide a theoretical foundation as well as a realistic view of the inherent complexity of form-function relationships in syntax. At the same time, genre is treated as a category relevant beyond discourse studies, consisting of forms and conventions at all levels of linguistic analysis, including syntax. The book is therefore of interest to linguists and graduate students in the area of syntax, discourse analysis, and pragmatics, as well as to sociolinguists and corpus linguists working on register variation.

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As the “Theory Wars” of the late twentieth century have subsided and as literary critics increasingly practice a pluralism that combines formal analysis with history, philosophy and aesthetics, the moment has come to reconsider two of the most basic concepts of literary interpretation: “text” and “meaning.” In doing so, the present volume addresses a number of fundamental questions: Where do we locate the material, linguistic and cultural boundaries of a text? What role is played in the establishment of meaning by intention, production, and reception? Does the meaning or significance of a text—whether literary or non-literary—change over time, and if so how?

The essays that constitute this volume are organized into five parts. “British and Irish Literature,” “American Literature” and “German Literature” approach “text and meaning” from historical and theoretical perspectives, interrogating the ways in which these concepts have evolved from the Middle Ages to the present, while examining how they operate within given literary periods. “Textuality and the Visual Arts” moves beyond traditional notions of textuality to include image and text, as well as the dynamic that exists between the two. Finally, “Linguistics, Philosophy and Interpretation,” seeks to define the theoretical assumptions that inform how we construe meaning and to establish principles of validation within the realm of interpretation.  Topics covered include everything from Medieval literature and art, Renaissance drama, eighteenth- and nineteenth-century English and American literature to modern and contemporary literature and art, German literature, the visual arts, philosophy and linguistics.

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The essays in this volume address foundational questions in phonology that cut across different schools of thought within the discipline. The theme of modularity runs through them all, however, and these essays demonstrate the benefits of the modular approach to phonology, either investigating interactions among distinct modules or developing specific aspects of representation within a particular module. Although the contributors take divergent views on a range of issues, they agree on the importance of representations and questions of modularity in phonology. Their essays address the status of phonological features, syllable theory, metrical structure, the architecture of the phonological component, and interaction among components of phonology. In the early 1990s the rise of Optimality Theory—which suggested that pure computation would solve the problems of representations and modularity—eclipsed the centrality of these issues for phonology. This book is unique in offering a coherent view of phonology that is not Optimality Theory based. The essays in this book, all by distinguished phonologists, demonstrate that computation and representation are inherently linked; they do not deny Optimality Theory but attempt to move the field of phonology beyond it. Contributors: Juliette Blevins, Charles E. Cairns, Andrea Calabrese, G. Nick Clements, B. Elan Dresher, Morris Halle, Harry van der Hulst, William J. Idsardi, Ellen Kaisse, Andrew Nevins, Thomas C. Purnell, Eric Raimy, Keren Rice, Charles Reiss, Bert Vaux, Aaron Wolfe.

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MLA Mina P. Shaughnessy Prize Honorable Mention 2009

Despite tremendous growth in attention to and scholarship about Asian Americans and their cultural work, little research has emerged that focuses directly on Asian American rhetoric. Representations: Doing Asian American Rhetoric addresses this need by examining the systematic, effective use of symbolic resources by Asians and Asian Americans in social, cultural, and political contexts. Such rhetoric challenges, disrupts, and transforms the dominant European American rhetoric and it commands a sense of unity or collective identity. However, such rhetoric also embodies internal differences and even contradictions, as each specific communicative situation is informed and inflected by particularizing contexts, by different relations of asymmetry, and, most simply put, by heterogeneous voices. The essays in Representations: Doing Asian American Rhetoric examine broadly the histories, theories, and practices of Asian American rhetoric, situating rhetorical work across the disciplines where critical study of Asian Americans occurs: Asian American studies, rhetoric and composition, communication studies, and English studies. These essays address the development and adaptation of classical rhetorical concepts such as ethos and memory, modern concepts such as identification, and the politics of representation through a variety of media and cultural texts. As these essays collectively argue, Asian American rhetoric not only reflects and responds to existing social and cultural conditions and practices, but also interacts with and impacts such conditions and practices. To the extent it does, it becomes a rhetoric of becoming–a rhetoric that is always in the process of negotiating with, adjusting to, and yielding an imagined identity and agency that is Asian American.

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This collection re-evaluates the work of fifteenth-century poet John Lydgate in light of medieval material culture. Top scholars in the field unite here with critical newcomers to offer fresh perspectives on the function of poetry on the cusp of the modern age, and in particular on the way that poetry speaks to the heightened relevance of material goods and possessions to the formation of late medieval identity and literary taste. Advancing in provocative ways the emerging fields of fifteenth-century literary and cultural study, the volume as a whole explores the role of the aesthetic not only in late medieval society but also in our own.

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Witnessing the Disaster examines how histories, films, stories and novels, memorials and museums, and survivor testimonies involve problems of witnessing: how do those who survived, and those who lived long after the Holocaust, make clear to us what happened? How can we distinguish between more and less authentic accounts? Are histories more adequate descriptors of the horror than narrative? Does the susceptibility of survivor accounts to faulty memory and the vestiges of trauma make them any more or less useful as instruments of witness? And how do we authenticate their accuracy without giving those who deny the Holocaust a small but dangerous foothold?

These essayists aim to move past the notion that the Holocaust as an event defies representation. They look at specific cases of Holocaust representation and consider their effect, their structure, their authenticity, and the kind of knowledge they produce. Taken together they consider the tension between history and memory, the vexed problem of eyewitness testimony and its status as evidence, and the ethical imperatives of Holocaust representation.

Michael Bernard-Donals is professor of English at the University of Wisconsin–Madison. Richard Glejzer is associate professor of English at North Central College in Illinois. They are coeditors of Between Witness and Testimony.

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For the most part, democracy is simply presumed to exist in the United States. It is viewed as a completed project rather than as a goal to be achieved. Fifteen leading scholars challenge that stasis in Materializing Democracy. They aim to reinvigorate the idea of democracy by placing it in the midst of a contentious political and cultural fray, which, the volume’s editors argue, is exactly where it belongs. Drawing on literary criticism, cultural studies, history, legal studies, and political theory, the essays collected here highlight competing definitions and practices of democracy—in politics, society, and, indeed, academia.

Covering topics ranging from rights discourse to Native American performance, from identity politics to gay marriage, and from rituals of public mourning to the Clinton-Lewinsky affair, the contributors seek to understand the practices, ideas, and material conditions that enable or foreclose democracy’s possibilities. Through readings of subjects as diverse as Will Rogers, Alexis de Tocqueville, slave narratives, interactions along the Texas-Mexico border, and liberal arts education, the contributors also explore ways of making democracy available for analysis. Materializing Democracy suggests that attention to disparate narratives is integral to the development of more complex, vibrant versions of democracy.

Contributors: Lauren Berlant, Wendy Brown, Chris Castiglia, Russ Castronovo, Joan Dayan, Wai Chee Dimock, Lisa Duggan, Richard R. Flores, Kevin Gaines, Jeffrey C. Goldfarb, Michael Moon, Dana D. Nelson, Christopher Newfield, Donald E. Pease

Russ Castronovo is the Jean Wall Bennett Professor of English and American Studies, University of Wisconsin-Madison and author of Necro Citizenship: Death, Eroticism, and the Public Sphere in the Nineteenth-Century United States, published by Duke University Press. Dana D. Nelson is Professor of English and Social Theory at the University of Kentucky and author of National Manhood: Capitalist Citizenship and the Imagined Fraternity of White Men, also published by Duke University Press.

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“One of the book’s strengths is that it speaks to many of its potential competitors. Reading this book will lead people new to the study of the Shoah to read other books. This is a rare book, one that is interesting not only in terms of what it says but in terms of what it prompts its readers to reconsider.” – David Metzger, Old Dominion University

The Holocaust presents an immense challenge to those who would represent it or teach it through fiction, film, or historical accounts. Even the testimonies of those who were there provide only a glimpse of the disaster to those who were not. Between Witness and Testimony investigates the difficulties inherent in the obligation to bear witness to events that seem not just unspeakable but also unthinkable. The authors examine films, fictional narratives, survivor testimonies, and the museums at Yad Vashem and the United States Holocaust Memorial Museum in order to establish an ethics of Holocaust representation. Traversing the disciplines of history, philosophy, religious studies, and literary and cultural theory, the authors suggest that while no account adequately provides access to what Adorno called “the extremity that eludes the concept,” we are still obliged to testify, to put into language what history cannot contain.

Michael Bernard-Donals is Professor of English and Jewish Studies at the University of Wisconsin, and the author of The Practice of Theory: Rhetoric, Knowledge, and Pedagogy in the Academy and Mikhail Bakhtin: Between Phenomenology and Marxism. Richard Glejzer is Assistant Professor of English at North Central College. They are the coeditors of Rhetoric in an Antifoundational World: Language, Culture, and Pedagogy.

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In this brilliant collection, literary scholars, philosophers, and teachers inquire into the connections between antifoundational philosophy and the rhetorical tradition. What happens to literary studies and theory when traditional philosophical foundations are disavowed? What happens to the study of teaching and writing when antifoundationalism is accepted? What strategies for human understanding are possible when the weaknesses of antifoundationalism are identified? This volume offers answers in classic essays by such thinkers as Richard Rorty, Terry Eagleton, and Stanley Fish, and in many new essays never published before.

The contributors to this book explore the nexus of antifoundationalism and rhetoric, critique that nexus, and suggest a number of pedagogical and theoretical alternatives. The editors place these statements into a context that is both critical and evaluative, and they provide for voices that dissent from the antifoundational perspective and that connect specific, practical pedagogies to the broader philosophical statements. For those with an interest in rhetoric, philosophy, comparative literature, or the teaching of composition, this book sets forth a wealth of thought-provoking ideas.

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