International Cooper Series in English Language and Literature – serie
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America es una sola aunque pocos lo crean, un dia por encima del Pentagono y las bananas y el petr6leo los hombres comprenderan la imbecilidad incurable de los nacionalismos. Julio Cortazar Ultimo Round The essays collected in this volurne arose out of a workshop at the 1992 Conference of the European Association for American Studies in Seville. The overall theme of that conference was "The American Colurnbiad: 'Discovering' America, Inventing the United States. " Feel- ing somewhat ill at ease with the clarification of this theme in the EAAS Newsletter of October 1990, which explained that the "central concern" of the conference would be to study the "making of a country which is more than just a country, but also and quintessentially a dream, a fic- tion, a continuous creation ...", we decided to organize a workshop that would focus on literary texts which implicitly or explicitly stand in opposition to the concept that the making of the North American nation is "quintessentially a dream. " While for many representing a dream, the making of the American nation deferred and destroyed at the same time the dreams of many others.The texts that interested us would therefore be such as foreground the hegemonic and power-related aspects that that making entailed and entails. The title that we chose for our workshopwas "Deferring a Dream: Literary Sub-Versions of the American Colurnbiad. " The hyphen in sub- version is not entirely accidental.
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This text aims to increase the reader's understanding of the comic in the work of three major contemporary North American writers. It tries, on the one hand, to do justice to the specificity of the "oeuvre" of each of the writers it deals with and, on the other, to come to grips with the comic as a theoretical problem of the criticism of much contemporary fiction. The term "comic sense" implies both a quality of the fiction discusssed in this book and a particular way of reading this fiction. Pughe concentrates mainly on the texts of his three authors: Robert Coover's "A Night at the Movies" and "The Public Burning", Stanley Elkin's "The Dick Gibson Show", "The Franchiser" and "The Magic Kingdom" and Philip Roth's Zuckerman series. His readings are based on a reconsideration of traditional and modern theories of the comic and show that the literary significance of the texts discussed here is closely intertwined with the authors' - and their readers' - comic sense.
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Critical tradition has established a certain way of reading Ezra Pound, one that places the meanings of the words on the page at the centre of interest and neglects poetic communication. The present study contributes to the recent challenge to this critical orthodoxy, which has led to his canonization as a "difficult" poet, by investigating the pragmatic dimension of Pound's work. In its effort to reconstruct the dynamic communicative interface between Pound and his audiences in the early period of his career (1908-1925), this study draws on relevance theory, a recent sharpening in pragmatic theory, not so much to produce a "new" reading of his poetry, but to suggest how Pound became difficult: it is argued that the relative success and failure of his poetry to enhance cognitive and civic renewal depended on the dialectic between his presumptions of audience and the interpretive expectations and skills of his actual historical readers.