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A Bibliographic Essay
Conseula Francis

Readers and critics alike, for the past sixty years, generally agree that Baldwin is a major African-American writer. What they do not agree on is why. Because of his artistic and intellectual complexity, Baldwin’s work resists easy categorization and Baldwin scholarship, consequently, spans the critical horizon. This essay provides an overview of the three major periods of Baldwin scholarship. 1963–73 is a period that begins with the publication of The Fire Next Time and sees Baldwin grace the cover of Time magazine. This period ends with Time declaring Baldwin too passé to publish an interview with him and with critics questioning his relevance. The second period, 1974–87, finds critics attempting to rehabilitate Baldwin’s reputation and work, especially as scholars begin to codify the African-American literary canon in anthologies and American universities. Finally, scholarship in the period after Baldwin’s death takes the opportunity to challenge common assumptions and silences surrounding Baldwin’s work. Armed with the methodologies of cultural studies and the critical insights of queer theory, critics set the stage for the current Baldwin renaissance.

James Baldwin Review
Open Access (free)
Where postcolonialism is neo-orientalist – the cases of Sarojini Naidu and Arundhati Roy
Elleke Boehmer

BOEHMER Makeup 3/22/05 2:55 PM Page 158 John's G5:Users:john:Public:John's Mac: John's Job 9 East is east: where postcolonialism is neo-orientalist – the cases of Sarojini Naidu and Arundhati Roy Oh, East is East and West is West, and never the twain shall meet. (Rudyard Kipling, ‘The Ballad of East and West’, 1892)1 This chapter, which considers the continuing exoticisation of the other woman that is involved in the postcolonial privileging of her voice, begins with a symptomatic account of the remarkable critical reception in 1890s London of Sarojini

in Stories of women
Open Access (free)
Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

. Examinations of the development of the Gothic genre and its critical reception undertaken by scholars such as James Watt are particularly helpful to my argument that Gothic scholarship’s ongoing adherence to gendered paradigms is grounded in its contemporary reception. Watt uses critical receptions of the Gothic and its changing conventions to argue that the genre is far from cohesive and displaces Walpole

in Gothic incest
Open Access (free)
White male vulnerability as heterosexual fantasy
Susanna Paasonen

Fifty Shades of Grey (2012a), Fifty Shades Darker (2012b) and Fifty Shades Freed (2012c). Despite the notably and unequivocally negative critical reception that the series continues to enjoy, it has been translated into more than forty languages and sold over 125  million copies worldwide (Deller et  al., 2013; Grigoriadis, 2015). The trilogy has spawned a film trilogy as well as a literary spin-​off trilogy –​comprising Grey (2015), Darker (2017) and the forthcoming Freed  –​which recounts the narrative from Christian Grey’s perspective in order to shed further light

in The power of vulnerability
Open Access (free)
Robin Norris

‘Victorian and modern views on masculinity [that] have influenced the critical reception and interpretation of male tears in the corpus of Old English literature’, as Kristen Mills argues; ‘examples of weeping men are often ignored or viewed as aberrant, while instances of women's weeping are taken as normative behaviour’. 10 In response to this tendency, in the first section of this chapter I would like simply to acknowledge the many sad men who inhabit Beowulf : the catalogue below serves as a monument. Even the main

in Dating Beowulf
Open Access (free)
Ethnicity and popular music in British cultural studies
Sean Campbell

studies’ engagements with questions of race, ethnicity and popular music. However, with few exceptions, these discussions have appeared to be wholly oblivious to the fact that musicians such as Lydon, as well as The Smiths and Oasis, are the immediate descendants of post-war Irish Catholic labour migrants. The critical reception of other immigrant-descended musicians has, of course, been markedly different, and scholarly discussions of secondand third-generation African-Caribbean and South Asian cultural practitioners have tended to privilege questions of race and

in Across the margins
Open Access (free)
Beckett and nothing: trying to understand Beckett
Daniela Caselli

limits of interpretation in the oeuvre. However, in this volume neither intertextuality (or even the more affectively invested ‘influence’) nor context are simply welcomed with the sigh of relief that seems to have characterised their recent critical reception. They do not allow us to finally stop worrying about issues that elude the aesthetics and let us go back to good, honest, uncomplicated spade work: critics as diverse as Pilling, Cohn and Connor have always known that archive work was never that. Persuasive literary criticism has always, be it labelled humanist

in Beckett and nothing
Open Access (free)
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

elements rigidly to the past. 31 What we see in gothic literature, Hoeveler contended, ‘is not a simple forward-moving trajectory that we would recognize as the Enlightenment project’, but, instead, ‘an oscillation in which the transcendent and traditional religious beliefs and tropes are alternately preserved and reanimated and then blasted and condemned’ – a wavering strikingly present in the Monthly Review 's appraisal of Otranto as well. 32 As is clear from the contrasting critical reception of the first and second

in The gothic novel in Ireland, c. 1760–1829
Open Access (free)
Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
Christina Morin

situated Irish gothic fiction at the centre of a newly understood transcontinental and transatlantic gothic literary production – an enduring cultural activity that spanned international borders and concomitantly contributed to, just as it was shaped by, transnational and cross-cultural exchange. The first part of this chapter accordingly offers a brief contextual consideration of Roche's career in London as well as the contemporary critical reception of her works. Despite rivalling in popularity Ann Radcliffe (1764–1823) and Isabella Kelly (c.1759

in The gothic novel in Ireland, c. 1760–1829
The unknowable image in The Winter’s Tale
Chloe Porter

, Image Ethics. Including a final chapter on The Winter’s Tale prior to his concluding ‘Coda’, Meek discusses the ‘statue scene’ in relation to its critical reception in Narrating the Visual , pp. 172–80. 7 O’Connell, The Idolatrous Eye , p. 141

in Making and unmaking in early modern English drama