1,720,991 research outputs found
'Some Genuine Chinese Authors': literary appreciation, comparatism, and universalism in the Straits Chinese Magazine
Get PDFThis chapter considers the ways in which Straits Chinese elites in Singapore strategically used discourses of comparatism and universalism both to marginalise ‘native’ Malays and ‘sojourning’ Chinese diasporas, and to point to colonialism’s inherent contradictions. Examining the political stakes of comparatism and its relationship to anticolonial, postcolonial, and ethnic nationalism in the context of Nanyang South Sea and Indian Ocean spaces, it reads the Straits Chinese Magazine (est. 1897) as an anticolonial project. Despite its apparent investment in the logic and rhetoric of imperial liberalism, Straits Chinese contributors to the magazine ultimately turn European comparatism on its head, encouraging a reversal of the comparative gaze and an exposition of the defective use of Enlightenment methodologies by European comparatists. If Straits Chinese authors often fall back on arguments for the universality of human experience, the Straits Chinese Magazine demonstrates the extent to which competing Sinocentric and Islamocentric civilisational accounts could disrupt European modes of seeing, destabilising what is considered natural and self-reflexively exposing the Eurocentric grounds on which comparisons are made.European Commission Horizon 2020European Research Counci
Introduction: southern worlds, globes, and spheres
Get PDFThis collection brings together for the first time literary studies of British colonies in nineteenth-century Australia, New Zealand, South Africa, South America, Southeast Asia, and the South Pacific Islands. Drawing on hemispheric studies, Indigenous studies, and southern theory to decentre British and other European metropoles, the collection offers a groundbreaking challenge to national paradigms and traditional literary periodisations and canons by prioritising southern cultural networks in multiple regional centres from Cape Town to Dunedin. Worlding the south examines the dialectics of literary worldedness in ways that recognise inequalities of power, textual and material violence, and literary and cultural resistance. The collection revises current literary histories of the 'British world' by arguing for the distinctiveness of settler colonialism in the southern hemisphere, and by incorporating Indigenous, diasporic, and south-south perspectives
Nineteenth-Century Fiction Holdings from Circulating Libraries in Southern Hemisphere British Settler Colonies
No full textThis dataset comprises 5,012 unique fiction titles from thirty different library catalogues pertaining to twenty-three circulating libraries located in British settler colonies in the southern hemisphere, including representation from urban centres such as Melbourne, Cape Town, Auckland, and Singapore, as well as from non-metropolitan locations such as gold-field towns within colonial Australia. Across a timespan of fifty years (1820-1870), these titles are listed more than 18,000 times in the thirty catalogues. The dataset is derived from an archive of extant English-language book catalogues produced in the nineteenth-century British settler colonies: Book Catalogues of the Southern Hemisphere (BCSH). Compiled by Lara Atkin, Sarah Comyn, Porscha Fermanis, and Nathan Garvey, this archive provides bibliographic records and digital versions of over 400 library, auction, book-seller, and private catalogues. It is part of the European Research Council-funded project, SouthHem: https://www.ucd.ie/southhem/catalogue.htm
Review of Robert White's "Keats: A Literary Life"
Get PDFThere is little doubt that Keats studies have undergone an intense re-historicisation in the last two and a half decades. Critics from Jerome McGann to Nicholas Roe have shown us just how much was lost by focusing solely on author and genre-centred approaches to Keats‘s poetry, as well as uncovering the relevance of a surprising number of historical, social, and political contexts.2020-01-17 JG: Extraneous material removed from PD
Review of Robert White\u27s "Keats: A Literary Life"
No full textThere is little doubt that Keats studies have undergone an intense re-historicisation in the last two and a half decades. Critics from Jerome McGann to Nicholas Roe have shown us just how much was lost by focusing solely on author and genre-centred approaches to Keats‘s poetry, as well as uncovering the relevance of a surprising number of historical, social, and political contexts.2020-01-17 JG: Extraneous material removed from PD
Not fit to be mentioned: legal ghosts and displaced narratives in the Northanger 'Horrid' novels
Get PDFOnce thought to be the fictitious creations of Jane Austen, the seven Gothic novels that comprise the ‘Northanger ‘Horrid’ Novels’ have been critically neglected since their rediscovery in the early twentieth century. For, despite repeated scholarship that posits Northanger Abbey as a pedagogical novel, references to the ‘Horrid’ novels have been primarily limited to brief allusions or disregarded entirely within criticism that confines them to hack or pulp writing of inferior quality. This thesis argues for the consideration of the ‘Horrid’ novels in their own right, examining how the presence of ‘temporally displaced narratives,’ that is, narratives which collapse the linear time of the central narrative and which focus exclusively on a minority public, ultimately serve as a signifier of absence. This study reads these texts as representative of authors motivated by an ideological agenda, ones whose narratives engage with the Gothic in order to recover narratives otherwise lost to a specifically male-authored history. The source of ‘terror,’ then, is located not in the traditional engagement of Gothic motifs, but rather, in the realities of eighteenth-century legal discourse. Exploring specific examples of patriarchal violence addressed within the temporally displaced narratives of the ‘Horrid’ novels, this study places particular emphasis upon the ways in which historically absented narratives are ‘recovered’ through the author’s engagement with and subversion of contemporary patriarchal law. These narratives of violent repression, written by both the ‘Horrid’ novels’ male and female authors, suggests that such narratives of subjugation are not exclusive to Female Gothic, and as such, proposes the need for a revision to the existing categorizations of Female and Male Gothic. This thesis ultimately demonstrates that the Northanger ‘Horrid’ Novels are worthy of independent examination, and that connections to Northanger Abbey need not be invoked in order to validate their inclusion within the canon of Gothic literature
Word and Picture in Walter Scott
No full textIN THE INTRODUCTORY NARRATIVE to The Bride of Lammermoor (1819), the sign-painter turned portrait-painter Dick Tinto accuses his friend Peter Pattieson, the fictional author of the novel, of overusing dialogue or, as Tinto more colloquially puts it, ‘the gob box’, as a means of representing character in his novels (BL, 21).1 Mounting a heated defence of the classical idea ut pictura poesis, Tinto dismisses Pattieson’s counter-argument that painting appeals to the eye whereas language addresses the ear, maintaining that words, ‘if properly employed’, have the ability to allow us to see or reconstruct images (BL, 22). Once widely endorsed, Tinto’s ‘picture theory’ of representation was increasingly disputed by eighteenth century British aestheticians.2 In Plastics (1712), Lord Shaftesbury rejects ut pictura poesis, considering comparisons between painting and poetry to be ‘constrained, lame, or defective’.3 Edmund Burke, too, claims in his Philosophic Enquiry (1757) that words, on the whole, do not generate images, drawing a distinction between painting’s imitative capacity to show objects in space and poetry’s figurative ability to designate them in time.
The south in the world
Get PDFCentring its insights in the border-traversing, world-opening capacities of imaginative southern writing and reading, this chapter offers a closing meditation on some of the more elusive meanings and heuristics of the south that the collection calls up. Inspired by the same critical orientations that the collection explores, it questions the extent to which the conceptual and historical remoteness of the south can ever be fully perceived and understood in geo-epistemological terms, arguing that southness will perhaps always elude northern analysis to some degree, its local and indigenous detail always slipping just beyond the frame. Efforts to re-territorialise global intellectual production therefore face a significant philosophical challenge that cannot be solved by a critical theory predicated on dominant northern constructs. To see the ‘south in the world’ means not just contemplating the world from the various perspectives and orientations of its different southerly regions and their histories, but also looking to the side, beyond ‘centres in modernity’, towards ‘composite and overlapping’ Black and Indigenous realities. The south thus both invites and makes possible archipelagic readings and heuristics, encouraging us to think connectively and fluidly through and across its spaces. Resistance emerges out of the structural flaws, gaps, broken links, and ellipses that are endemic to any colonial-type assertion of planetary consciousness
Worlding the south
Get PDFThis collection brings together for the first time literary studies of British colonies in nineteenth-century Australia, New Zealand, South Africa, South America, Southeast Asia, and the Pacific Islands. Drawing on hemispheric studies, Indigenous studies, and southern theory to decentre British and other European metropoles, the collection offers a latitudinal challenge to national paradigms and traditional literary periodisations and canons by proposing a new literary history of the region that is predicated less on metropolitan turning points and more on southern cultural perspectives in multiple regional centres from Cape Town to Dunedin. With a focus on southern orientations, southern audiences, and southern modes of addressivity, Worlding the south foregrounds marginal, minor, and neglected writers and texts across a hemispheric complex of southern oceans and terrains. Drawing on an ontological tradition that tests the dominance of networked theories of globalisation, the collection also asks how we can better understand the dialectical relationship between the ‘real’ world in which a literary text or art object exists and the symbolic or conceptual world it shows or creates. By examining the literary processes of ‘worlding’, it demonstrates how art objects make legible homogenising imperial and colonial narratives, inequalities of linguistic power, textual and material violence, and literary and cultural resistance. With contributions from leading scholars in nineteenth-century literary and cultural studies, the collection revises literary histories of the ‘British world’ by arguing for the distinctiveness of settler colonialism in the southern hemisphere, and by incorporating Indigenous, diasporic, settler, and other southern perspectives
Not fit to be mentioned: legal ghosts and displaced narratives in the Northanger \u27Horrid\u27 novels
No full textOnce thought to be the fictitious creations of Jane Austen, the seven Gothic novels that comprise the ‘Northanger ‘Horrid’ Novels’ have been critically neglected since their rediscovery in the early twentieth century. For, despite repeated scholarship that posits Northanger Abbey as a pedagogical novel, references to the ‘Horrid’ novels have been primarily limited to brief allusions or disregarded entirely within criticism that confines them to hack or pulp writing of inferior quality. This thesis argues for the consideration of the ‘Horrid’ novels in their own right, examining how the presence of ‘temporally displaced narratives,’ that is, narratives which collapse the linear time of the central narrative and which focus exclusively on a minority public, ultimately serve as a signifier of absence. This study reads these texts as representative of authors motivated by an ideological agenda, ones whose narratives engage with the Gothic in order to recover narratives otherwise lost to a specifically male-authored history. The source of ‘terror,’ then, is located not in the traditional engagement of Gothic motifs, but rather, in the realities of eighteenth-century legal discourse. Exploring specific examples of patriarchal violence addressed within the temporally displaced narratives of the ‘Horrid’ novels, this study places particular emphasis upon the ways in which historically absented narratives are ‘recovered’ through the author’s engagement with and subversion of contemporary patriarchal law. These narratives of violent repression, written by both the ‘Horrid’ novels’ male and female authors, suggests that such narratives of subjugation are not exclusive to Female Gothic, and as such, proposes the need for a revision to the existing categorizations of Female and Male Gothic. This thesis ultimately demonstrates that the Northanger ‘Horrid’ Novels are worthy of independent examination, and that connections to Northanger Abbey need not be invoked in order to validate their inclusion within the canon of Gothic literature
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