Harilaos Stecopoulos – författare

Telling America''s Story to the World argues that state and state-affiliated cultural diplomacy contributed to the making of postwar US literature. Highlighting the role of liberal internationalism in US cultural outreach, Harilaos Stecopoulos contends that the state mainly sent authors like Ralph Ellison, Robert Frost, William Faulkner, Langston Hughes, and Maxine Hong Kingston overseas not just to demonstrate the achievements of US civilization but also to broadcast an American commitment to international cross-cultural connection. Those writers-cum-ambassadors may not have helped the state achieve its propaganda goals-indeed, this rarely proved the case-but they did find their assignments an opportunity to ponder the international meanings and possibilities of US literature. For many of those figures, courting foreign publics inspired a reevaluation of the scope and form of their own literary projects. Testifying to the inadvertent yet integral role of cultural diplomacy in the worlding of US letters, works like The Mansion (1959), Life Studies (1959), "Cultural Exchange" (1961, 1967), Tripmaster Monkey: His Fake Book (1989), and Three Days Before the Shooting... (2010) reimagine US literature in a mobile, global, and distinctly political register.

Telling America''s Story to the World argues that state and state-affiliated cultural diplomacy contributed to the making of postwar US literature. Highlighting the role of liberal internationalism in US cultural outreach, Harilaos Stecopoulos contends that the state mainly sent authors like Ralph Ellison, Robert Frost, William Faulkner, Langston Hughes, and Maxine Hong Kingston overseas not just to demonstrate the achievements of US civilization but also to broadcast an American commitment to international cross-cultural connection. Those writers-cum-ambassadors may not have helped the state achieve its propaganda goals-indeed, this rarely proved the case-but they did find their assignments an opportunity to ponder the international meanings and possibilities of US literature. For many of those figures, courting foreign publics inspired a reevaluation of the scope and form of their own literary projects. Testifying to the inadvertent yet integral role of cultural diplomacy in the worlding of US letters, works like The Mansion (1959), Life Studies (1959), "Cultural Exchange" (1961, 1967), Tripmaster Monkey: His Fake Book (1989), and Three Days Before the Shooting... (2010) reimagine US literature in a mobile, global, and distinctly political register.

Telling America's Story to the World argues that state and state-affiliated cultural diplomacy contributed to the making of postwar US literature. Highlighting the role of liberal internationalism in US cultural outreach, Harilaos Stecopoulos contends that the state mainly sent authors like Ralph Ellison, Robert Frost, William Faulkner, Langston Hughes, and Maxine Hong Kingston overseas not just to demonstrate the achievements of US civilization but also to broadcast an American commitment to international cross-cultural connection. Those writers-cum-ambassadors may not have helped the state achieve its propaganda goals-indeed, this rarely proved the case-but they did find their assignments an opportunity to ponder the international meanings and possibilities of US literature. For many of those figures, courting foreign publics inspired a reevaluation of the scope and form of their own literary projects. Testifying to the inadvertent yet integral role of cultural diplomacy in the worlding of US letters, works like The Mansion (1959), Life Studies (1959), "Cultural Exchange" (1961, 1967), Tripmaster Monkey: His Fake Book (1989), and Three Days Before the Shooting... (2010) reimagine US literature in a mobile, global, and distinctly political register.

"The unending tragedy of Reconstruction," wrote W. E. B. Du Bois, "is the utter inability of the American mind to grasp its... national and worldwide implications." And yet the long shadow of Reconstruction's failure has loomed large in the American imagination, serving as a parable of race and democracy both at home and abroad. In Reconstructing the World Harilaos Stecopoulos looks at an array of American writers who, over the course of the twentieth century, used the South as a touchstone for thinking about the nation's global ambitions. Focusing on the lives and writings of Charles Chesnutt, Thomas Dixon, James Weldon Johnson, W. E. B. Du Bois, Carson McCullers, William Faulkner, Richard Wright, and Alice Walker, he shows the ways in which these public intellectuals viewed the U.S. South in international terms and questioned the relationship between domestic inequality and a quest for global power.By examining "big stick" diplomacy, World War II, and the Vietnam War in light of regional domestic concerns, Stecopoulos urges a reassessment of the American Century. Providing new interpretations of literary works both well-known (Johnson's The Autobiography of an Ex-Colored Man, McCullers's The Member of the Wedding) and marginal (Dixon's The Leopard's Spots, Du Bois's Dark Princess), Stecopoulos argues that the South played a crucial role in mediating between the national and imperial concerns of the United States. That intersection of region and empire, he contends, profoundly influenced how Americans understood not only cultural and political geographies but also issues of race and ethnicity.

"The unending tragedy of Reconstruction," wrote W. E. B. Du Bois, "is the utter inability of the American mind to grasp its... national and worldwide implications." And yet the long shadow of Reconstruction's failure has loomed large in the American imagination, serving as a parable of race and democracy both at home and abroad. In Reconstructing the World Harilaos Stecopoulos looks at an array of American writers who, over the course of the twentieth century, used the South as a touchstone for thinking about the nation's global ambitions. Focusing on the lives and writings of Charles Chesnutt, Thomas Dixon, James Weldon Johnson, W. E. B. Du Bois, Carson McCullers, William Faulkner, Richard Wright, and Alice Walker, he shows the ways in which these public intellectuals viewed the U.S. South in international terms and questioned the relationship between domestic inequality and a quest for global power.By examining "big stick" diplomacy, World War II, and the Vietnam War in light of regional domestic concerns, Stecopoulos urges a reassessment of the American Century. Providing new interpretations of literary works both well-known (Johnson's The Autobiography of an Ex-Colored Man, McCullers's The Member of the Wedding) and marginal (Dixon's The Leopard's Spots, Du Bois's Dark Princess), Stecopoulos argues that the South played a crucial role in mediating between the national and imperial concerns of the United States. That intersection of region and empire, he contends, profoundly influenced how Americans understood not only cultural and political geographies but also issues of race and ethnicity.

Although in recent years scholars have explored the cultural construction of masculinity, they have largely ignored the ways in which masculinity intersects with other categories of identity, particularly those of race and ethnicity. The essays in Race and the Subject of Masculinities address this concern and focus on the social construction of masculinity-black, white, ethnic, gay, and straight-in terms of the often complex and dynamic relationships among these inseparable categories.Discussing a wide range of subjects including the inherent homoeroticism of martial-arts cinema, the relationship between working-class ideologies and Elvis impersonators, the emergence of a gay, black masculine aesthetic in the works of James Van der Zee and Robert Mapplethorpe, and the comedy of Richard Pryor, Race and the Subject of Masculinities provides a variety of opportunities for thinking about how race, sexuality, and "manhood" are reinforced and reconstituted in today’s society. Editors Harry Stecopoulos and Michael Uebel have gathered together essays that make clear how the formation of masculine identity is never as obvious as it might seem to be. Examining personas as varied as Eddie Murphy, Bruce Lee, Tarzan, Malcolm X, and Andre GidÉ, these essays draw on feminist critique and queer theory to demonstrate how cross-identification through performance and spectatorship among men of different races and cultural backgrounds has served to redefine masculinity in contemporary culture. By taking seriously the role of race in the making of men, Race and the Subject of Masculinities offers an important challenge to the new studies of masculinity.Contributors. Herman Beavers, Jonathan Dollimore, Richard Dyer, Robin D. G. Kelly, Christopher Looby, Leerom Medovoi, Eric Lott, Deborah E. McDowell, JosÉ E. MuÑoz, Harry Stecopoulos, Yvonne Tasker, Michael Uebel, Gayle Wald, Robyn Wiegman

Although in recent years scholars have explored the cultural construction of masculinity, they have largely ignored the ways in which masculinity intersects with other categories of identity, particularly those of race and ethnicity. The essays in Race and the Subject of Masculinities address this concern and focus on the social construction of masculinity—black, white, ethnic, gay, and straight—in terms of the often complex and dynamic relationships among these inseparable categories.Discussing a wide range of subjects including the inherent homoeroticism of martial-arts cinema, the relationship between working-class ideologies and Elvis impersonators, the emergence of a gay, black masculine aesthetic in the works of James Van der Zee and Robert Mapplethorpe, and the comedy of Richard Pryor, Race and the Subject of Masculinities provides a variety of opportunities for thinking about how race, sexuality, and "manhood" are reinforced and reconstituted in today’s society. Editors Harry Stecopoulos and Michael Uebel have gathered together essays that make clear how the formation of masculine identity is never as obvious as it might seem to be. Examining personas as varied as Eddie Murphy, Bruce Lee, Tarzan, Malcolm X, and Andre Gidé, these essays draw on feminist critique and queer theory to demonstrate how cross-identification through performance and spectatorship among men of different races and cultural backgrounds has served to redefine masculinity in contemporary culture. By taking seriously the role of race in the making of men, Race and the Subject of Masculinities offers an important challenge to the new studies of masculinity.

Contributors. Herman Beavers, Jonathan Dollimore, Richard Dyer, Robin D. G. Kelly, Christopher Looby, Leerom Medovoi, Eric Lott, Deborah E. McDowell, José E. Muñoz, Harry Stecopoulos, Yvonne Tasker, Michael Uebel, Gayle Wald, Robyn Wiegman

A History of the Literature of the U.S. South provides scholars with a dynamic and heterogeneous examination of southern writing from John Smith to Natasha Trethewey. Eschewing a master narrative limited to predictable authors and titles, the anthology adopts a variegated approach that emphasizes the cultural and political tensions crucial to the making of this regional literature. Certain chapters focus on major white writers (e.g., Thomas Jefferson, William Faulkner, the Agrarians, Cormac McCarthy), but a substantial portion of the work foregrounds the achievements of African American writers like Frederick Douglass, Zora Neale Hurston, and Sarah Wright to address the multiracial and transnational dimensions of this literary formation. Theoretically informed and historically aware, the volume's contributors collectively demonstrate how southern literature constitutes an aesthetic, cultural and political field that richly repays examination from a variety of critical perspectives.

A History of the Literature of the U.S. South provides scholars with a dynamic and heterogeneous examination of southern writing from John Smith to Natasha Trethewey. Eschewing a master narrative limited to predictable authors and titles, the anthology adopts a variegated approach that emphasizes the cultural and political tensions crucial to the making of this regional literature. Certain chapters focus on major white writers (e.g., Thomas Jefferson, William Faulkner, the Agrarians, Cormac McCarthy), but a substantial portion of the work foregrounds the achievements of African American writers like Frederick Douglass, Zora Neale Hurston, and Sarah Wright to address the multiracial and transnational dimensions of this literary formation. Theoretically informed and historically aware, the volume''s contributors collectively demonstrate how southern literature constitutes an aesthetic, cultural and political field that richly repays examination from a variety of critical perspectives.