Edinburgh Studies in Transatlantic Literatures – serie

Provides an alternative account of the modernist transatlanticEngaging with recent studies of modernist journals and the historical avant-garde, Eric White investigates how modernist writers interrogated the relationship between physical places, the printed page, and national identity in the transatlantic print networks of the early twentieth century. He articulates the ways in which artist-run ‘little magazines’ such as Blues, The Dial, Contact, Fire!!, Others, The Little Review, Pagany, S4N, and Secession formed the crucible of transnational modernism and simultaneously ‘located’ its avant-gardes in specific environments. By focusing on the collaborative networks that sprang up within and between these publications, the book delves into correspondence, unpublished manuscripts, and unfinished projects to explore frequently overlooked points of contact between European and American avant-gardes. In the process, it proposes a version of localist modernism that re-inserts figures such as William Carlos Williams, Marianne Moore, Jean Toomer, Alain Locke, Alfred Kreymborg, and Kathleen Tankersley Young back into the ‘global design’ of literary modernism. The book also opens new dialogic channels between the fields of literary, textual, and cultural criticism to challenge the boundaries that traditionally divide modernist literature into ‘exile’ and ‘localist’, or ‘cosmopolitan’ and ‘regionalist’, factions.Key Features:Provides a new account of the literary avant-gardes that questioned the relationship between geographic place, textual space and national identityComplements modernist studies of American expatriatesCombines literary-historical, textual, and cultural criticism to deliver a ‘networked’ reading of American modernism in the transatlantic contextProposes a version of ‘localist modernism’ that prioritises issues of geographic and textual ‘location’ in transnational literary studies

The first book devoted to Coleridge’s influence on Emerson and the development of American TranscendentalismAs Samantha Harvey demonstrates, Samuel Taylor Coleridge’s thought galvanized Emerson at a pivotal moment in his intellectual development in the years 1826-1836, giving him new ways to harmonize the Romantic triad of nature, spirit and humanity. Emerson did not think about Coleridge: he thought with Coleridge, resulting in a unique case of assimilative influence. In addition to examining his specific literary, philosophical, and theological influences on Emerson, this book reveals Coleridge’s centrality for Boston Transcendentalism and Vermont Transcendentalism, a movement which profoundly affected the development of modern higher education, the national press, and the emergence of Pragmatism.Key Features*Illuminates how the emerging field of transatlantic studies has opened new circulatory spaces to reconsider the relationship between Coleridge and Emerson*Asserts Coleridge as the single most important influence on Emerson’s early essays*Examines the centrality of nature in the dynamic context of Transatlantic Romanticism*Highlights the essential but overlooked legacy of Coleridge’s dynamic principles of method for Emerson and for Boston and Vermont Transcendentalism

The first book devoted to Coleridge’s influence on Emerson and the development of American TranscendentalismAs Samantha Harvey demonstrates, Samuel Taylor Coleridge’s thought galvanized Emerson at a pivotal moment in his intellectual development in the years 1826-1836, giving him new ways to harmonize the Romantic triad of nature, spirit and humanity. Emerson did not think about Coleridge: he thought with Coleridge, resulting in a unique case of assimilative influence. In addition to examining his specific literary, philosophical, and theological influences on Emerson, this book reveals Coleridge’s centrality for Boston Transcendentalism and Vermont Transcendentalism, a movement which profoundly affected the development of modern higher education, the national press, and the emergence of Pragmatism.Key Features*Illuminates how the emerging field of transatlantic studies has opened new circulatory spaces to reconsider the relationship between Coleridge and Emerson*Asserts Coleridge as the single most important influence on Emerson’s early essays*Examines the centrality of nature in the dynamic context of Transatlantic Romanticism*Highlights the essential but overlooked legacy of Coleridge’s dynamic principles of method for Emerson and for Boston and Vermont Transcendentalism

A transnational study of the American Renaissance which explores the literary circulation of Middle Eastern translations of 19th-century U.S. literature In a pioneering approach to classic U.S. Literature, Jeffrey Einboden traces the global afterlives of literary icons from Washington Irving to Walt Whitman and analyses 19th-century American authors as they now appear in Arabic, Hebrew and Persian translation. Crossing linguistic, cultural and national boundaries, Middle Eastern renditions of U.S. texts are interrogated as critical readings and illuminating revisions of their American sources. Why does Moby-Dick both invite and resist Arabic translation? What are the religious and aesthetic implications of re-writing Leaves of Grass in Hebrew? How does rendering The Scarlet Letter into Persian transform Hawthorne''s infamous symbol? Uncovering the choices and changes made by prominent Middle Eastern translators, this study is the first to reveal the significance of ''orienting'' American classics, demonstrating how such a process offers a valuable lens for reconsidering U.S. literary origins, accenting and amplifying facets of the American Renaissance customarily hidden. Key Features:Advances Transatlantic Studies through expanding the field''s critical perspective and methods, revealing the Middle East as a significant region for American literary receptions, and translation as an instructive lens for re-evaluating U.S. classicsProvides vital transnational readings of Washington Irving, Henry Wadsworth Longfellow, Nathaniel Hawthorne, Herman Melville and Walt Whitman previously unacknowledged in American Studies Develops and promotes a theory of global literary circulation, situating the American Renaissance as a pivotal movement, reaching back to ancient Middle Eastern sources, and forward to developing Middle Eastern transmissions

Explores the interaction of literature and music in the Atlantic world in the age of Enlightenment and RomanticismThis new study looks at the relationship of rhetoric and music in the era’s intellectual discourses, texts and performance cultures principally in Europe and North America. Catherine Jones begins by examining the attitudes to music and its performance by leading figures of the American Enlightenment and Revolution, notably Benjamin Franklin and Thomas Jefferson. She also looks at the attempts of Francis Hopkinson　and others to harness the Orphean power of music so that it should become a progressive force in the creation of a new society. She argues that the association of rhetoric and music that reaches back to classical Antiquity acquired new relevance and underwent new theorisation and practical application in the American Enlightenment in light of revolutionary Atlantic conditions. Jones goes on to consider changes in the relationship of rhetoric and music in the nationalising milieu of the nineteenth century; the connections of literature, music and music theory to changing models of subjectivity; and Romantic appropriations of Enlightenment visions of the public ethical function of music. Key FeaturesThe first study devoted to literature and music in the Atlantic worldIncludes detailed examination of works by canonical and lesser known eighteenth- and nineteenth-century American writers and composersShows the intertwining of European and American cultural formsIntegrates the history of music and the history of subjectivity Catherine Jones is Senior Lecturer in English at the University of Aberdeen.