Michael Ragussis – författare

Michael Ragussis re-reads the novelistic tradition by arguing the acts of naming--bestowing, revealing, or earning a name; taking away, hiding, or prohibiting a name; slandering, or protecting and serving it--lie at the center of fictional plots from the 18th century to the present. Against the background of philosophic approaches to naming, Acts of Naming reveals the ways in which systems of naming are used to appropriate characters in novels as diverse asClarissa, Fanny Hill, Oliver Twist, Pierre, Tess of the d'Urbervilles, Remembrance of Things Past, and Lolita, and identifies unnaming and renaming as the locus of power in the family's plot to control thechild, and more particularly, to rape the daughter. His analysis also treats additional works by Cooper, Brontë, Hawthorne, Eliot, Twain, Conrad, and Faulkner, extending the concept of the naming plot to reimagine the traditions of the novel, comparing American and British plots, female and male plots, inheritance and seduction plots, and so on. Acts of Naming ends with a theoretical exploration of the "magical" power of naming in different eras and in different, even competing,forms of discourse.

Michael Ragussis re-reads the novelistic tradition by arguing the acts of naming--bestowing, revealing, or earning a name; taking away, hiding, or prohibiting a name; slandering, or protecting and serving it--lie at the center of fictional plots from the 18th century to the present. Against the background of philosophic approaches to naming, Acts of Naming reveals the ways in which systems of naming are used to appropriate characters in novels as diverse as Clarissa, Fanny Hill, Oliver Twist, Pierre, Tess of the d''Urbervilles, Remembrance of Things Past, and Lolita, and identifies unnaming and renaming as the locus of power in the family''s plot to control the child, and more particularly, to rape the daughter. His analysis also treats additional works by Cooper, Brontë, Hawthorne, Eliot, Twain, Conrad, and Faulkner, extending the concept of the naming plot to reimagine the traditions of the novel, comparing American and British plots, female and male plots, inheritance and seduction plots, and so on. Acts of Naming ends with a theoretical exploration of the "magical" power of naming in different eras and in different, even competing, forms of discourse.

Perhaps the most significant development of the Georgian theater was its multiplication of ethnic, colonial, and provincial character types parading across the stage. In Theatrical Nation, Michael Ragussis opens up an archive of neglected plays and performances to examine how this flood of domestic and colonial others showcased England in general and London in particular as the center of an increasingly complex and culturally mixed nation and empire, and in this way illuminated the shifting identity of a newly configured Great Britain.In asking what kinds of ideological work these ethnic figures performed and what forms were invented to accomplish this work, Ragussis concentrates on the most popular of the "outlandish Englishmen," the stage Jew, Scot, and Irishman. Theatrical Nation understands these stage figures in the context of the government's controversial attempts to merge different ethnic and national groups through the 1707 Act of Union with Scotland, the Jewish Naturalization Bill of 1753, and the Act of Union with Ireland of 1800.Exploring the significant theatrical innovations that illuminate the central anxieties shared by playhouse and nation, Ragussis considers how ethnic identity was theatricalized, even as it moved from stage to print. By the early nineteenth century, Anglo-Irish and Scottish novelists attempted to deconstruct the theater's ethnic stereotypes while reimagining the theatricality of interactions between English and ethnic characters. An important shift took place as the novel's cross-ethnic love plot replaced the stage's caricatured male stereotypes with the beautiful ethnic heroine pursued by an English hero.

Perhaps the most significant development of the Georgian theater was its multiplication of ethnic, colonial, and provincial character types parading across the stage. In Theatrical Nation, Michael Ragussis opens up an archive of neglected plays and performances to examine how this flood of domestic and colonial others showcased England in general and London in particular as the center of an increasingly complex and culturally mixed nation and empire, and in this way illuminated the shifting identity of a newly configured Great Britain.In asking what kinds of ideological work these ethnic figures performed and what forms were invented to accomplish this work, Ragussis concentrates on the most popular of the "outlandish Englishmen," the stage Jew, Scot, and Irishman. Theatrical Nation understands these stage figures in the context of the government's controversial attempts to merge different ethnic and national groups through the 1707 Act of Union with Scotland, the Jewish Naturalization Bill of 1753, and the Act of Union with Ireland of 1800.Exploring the significant theatrical innovations that illuminate the central anxieties shared by playhouse and nation, Ragussis considers how ethnic identity was theatricalized, even as it moved from stage to print. By the early nineteenth century, Anglo-Irish and Scottish novelists attempted to deconstruct the theater's ethnic stereotypes while reimagining the theatricality of interactions between English and ethnic characters. An important shift took place as the novel's cross-ethnic love plot replaced the stage's caricatured male stereotypes with the beautiful ethnic heroine pursued by an English hero.

"I knew a Man, who having nothing but a summary Notion of Religion himself, and being wicked and profligate to the last Degree in his Life, made a thorough Reformation in himself, by labouring to convert a Jew."-Daniel Defoe, The Farther Adventures of Robinson Crusoe (1719)When the hero of Defoe’s novel listens skeptically to this anecdote related by a French Roman Catholic priest, he little suspects that in less than a century the conversion of the Jews would become nothing short of a national project-not in France but in England. In this book, Michael Ragussis explores the phenomenon of Jewish conversion-the subject of popular enthusiasm, public scandal, national debate, and dubbed "the English madness" by its critics-in Protestant England from the 1790s through the 1870s.Moving beyond the familiar catalog of anti-Semitic stereotypes, Ragussis analyzes the rhetoric of conversion as it was reinvented by the English in sermons, stories for the young, histories of the Jews, memoirs by Jewish converts, and popular novels. Alongside these texts and the countertexts produced by English Jews, he situates such writers as Edgeworth, Scott, Disraeli, Arnold, Trollope, and Eliot within the debate over conversion and related issues of race, gender, and nation-formation. His work reveals how a powerful group of emergent cultural projects-including a revisionist tradition of the novel, the new science of ethnology, and the rewriting of European history-redefined English national identity in response to the ideology of conversion, the history of the Jews, and "the Jewish question." Figures of Conversion offers an entirely new way of regarding Jewish identity in nineteenth-century British culture and will be of importance not only to literary scholars but also to scholars of Judaic and religious studies, history, and cultural studies.