Search results

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
Demand-side abundance and its discontents in Hungary during the long 1960s
György Péteri

of consumerism and its consolidation can be traced and shown in the mirror of its critical reception by several shades of Kádár-era Hungary’s cultural and intellectual life. In the rest of this chapter, I present and discuss only two distinct streams of critical reception of the advent of consumerism and demand-side abundance in Communist Hungary. First, I present the contemporary satirical mirror held to advances of consumerism in Hungarian society by the cartoons published in the weekly satirical magazine, Ludas Matyi, in the first seven years of János Kádár

in Overwhelmed by overflows?
Alison Lewis

1920s, with which Döblin was only too familiar from working with social welfare patients. Döblin develops a distinctive aesthetics of empathy for the ‘small man’ in this work, which was to augur well for the novel’s positive critical reception at the time and in later years. A pivotal stage in the development of the writer’s avowed sympathies for the lower middle classes – which he shared with contemporaries like Kästner and Brecht but not with Musil or Mann – is a far less well known work, from 1924, Die beiden Freundinnen und ihr Giftmord (Two Girlfriends Commit

in A history of the case study
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
Jeremy C.A. Smith

different questions about power, as well as looking at fresh figurations not normally examined as civilisations. Arnason for one is receptive to suggestions of further revision. In his view, civilisational analysis cannot exhaust understanding (Arnason, 2010) and ‘should not be mistaken for an attempt to subsume everything under civilisational categories’ (2011b: 117). When couched in these terms, civilisational analysis appears responsive to criticisms from within and from without. There is a small critical reception of Arnason’s work. A number of the criticisms

in Debating civilisations
Martha Graham, dance and politics
Dana Mills

it held the audience spellbound. (Denby 1986: 109) Graham knew very well how to present and perform a sic-​sensuous, a presentation of an aesthetic not always considered beautiful experienced between two sensing bodies. Slightly more light-​hearted but no less critical receptions of Graham are quoted in Copeland’s book on Merce Cunningham, Graham dancer turned into revolutionary in his own right. In reference to titles in characters in her Dark Meadow, such as One who Seeks, He who Summons, The One who Speaks, Copeland terms Graham herself: ‘she whose head ached

in Dance and politics
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