Louise Erdrich is one of the most critically and commercially successful Native American writers. This book is a fully comprehensive treatment of her writing, analysing the textual complexities and diverse contexts of her work to date. Drawing on the critical archive relating to Erdrich's work and Native American literature, it explores the full depth and range of her authorship. Breaking Erdrich's oeuvre into several groupings – poetry, early and late fiction, memoir and children's writing – it develops individual readings of both the critical arguments and the texts themselves. The book argues that Erdrich's work has developed an increasing political acuity to the relationship between ethics and aesthetics in Native American literature, and her insistence on being read as an American writer is shown to be in constant and mutually inflecting dialogue with her Ojibwe heritage.
the twilight of Edward’s reign in the spring
of 1553, but was not published until 1570. It can be read as a summation and
critique of the period 1547–1553. In particular, the textualcomplexity of Beware
the Cat, its cynical politics and poetics, reflect the shock to the magisterial
Protestant endeavour caused by the events of 1549 and the realization that in
1553 the reign of which so much had been expected was coming to an end –
not with a bang but a whimper.
Edward VI’s reign was an anomaly – not only because of the royal minority
but also because its political
, enabling full
comparison of the different versions that were printed in 1650 and 1678.
Hester Pulter’s poems occur only in University of Leeds Library,
Brotherton Collection, MS Lt q 32, which is therefore our copy-text.
Katherine Philips sits at the other end of the spectrum to Pulter in terms
of textualcomplexity: there are two printed editions of Poems (1664 and
1667), of contested degrees of authorial sanction, an early autograph
manuscript (known as ‘Tutin’), and several other manuscript volumes,
including the important Rosania manuscript compiled after her death
equally stand as an account of the textualcomplexities we witnessed in Arthur Machen. This type of
‘fracturing’ is a feature of the Gothic as much as it is of
the Modernist text. The Gothic subject mapped here is one that is
embedded in narratives about death, and this becomes re-routed into
Modernism by the implicit Gothic images that so often underpin Modernist
writings. 4 This is
quality has broadened the range of programming it addresses, towards programmes that had been little regarded because of their apparently formulaic and generic narrative patterns and their consumption by audiences whose tastes and discrimination had been undervalued.
This section contains four essays that engage in different ways with this complex of debates around authorship, aesthetic and textualcomplexity or experimentation, and address to popular audiences. Peter Billingham discusses the Channel 4 drama series Queer As Folk (C4 1999–2000), focusing on its
The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.
’s fascination with Billy’s fluid and amorphous style of existence ‘invites us to see that the world is postmodern-fluid, unpredictable and ultimately uncontrollable (Livingstone is eaten by his twisted creations) or wrongly controlled (Garrett gains power by becoming the greatest human casualty in the entire book).’ 18 While sympathetic to aspects of Cooley’s ‘postmodern’ reading, Douglas Barbour sees in the textualcomplexity of Billy the Kid persuasive evidence of the limits of conventional thematic criticism. Beginning from the premise that Billy the Kid is ‘one of
Episodic erotics and generic structures in Ventura Pons’s ‘Minimalist Trilogy’
David Scott Diffrient
above, Pons is not the only contemporary
filmmaker to depart from classical narrative formulas and embrace the
inter-textual as well as intra textualcomplexities of episode
films. Over the past fifteen years, several filmmakers throughout the
world have made similar interventions in plot (de)construction and
character development, from Rodrigo García to Jim Jarmusch to
François Girard. These and other
Bachelor soldier narratives of nostalgia and the re-creation of the domestic interior
explore the textualcomplexity of emotional material culture’, this
section extends the materiality of the home to recover traces of men’s
interactions with a variety of emotional objects that include the tangible, sensory, concealed and transitory.31
Nostalgia: a brief history
The potentially fatal repercussions of enforced separation informed the
basis of Johannes Hofer’s 1688 medical thesis on the pathology and prevention of heimweh (homesickness), a condition Hofer termed ‘nostalgia’.32 The first of its kind to identify homesickness as a clinical disease,
natural medium of publication was manuscript’, his canon presents a morass of attribution problems and of irresolvable textualcomplexity and multiplicity. 114 Rochester’s commodification by eighteenth-century print culture if anything only ramified the fundamental uncertainty that has historically attended reading this poet: amidst a crowded field of spurious and expurgated editions, a surreptitiously printed 1761 edition of Rochester’s Poetical Works stands out for the audacity of its fraudulence, offering for the reader’s pleasure some one hundred poems, ninety