Search Results

You are looking at 21 - 30 of 96 items :

  • "Literary Analysis" x
Clear All

relevant be- yond its disciplinary headquarters. For students of literature, historiog- raphy can prevent anachronistic and nonsensical readings of literary works. And considering seriously the contemporary stylistic and the- matic tropes almost necessarily produces new and more informed read- ings. Luckily, recent discussions have all but dispelled the myth of historical context being somehow extraneous to literary analysis. At the same time, arguments such as Rita Felski’s provocative claim that “con- text stinks,” in which she fundamentally questions literary

have not concerned themselves. This has happened to nearly all four autobiographies that are presented here. Fugitive Borders addresses this gap. It builds on the existing historical and historiographical studies to provide a literary analysis of this original corpus of Black writing. It contains pioneering work by focusing on four relatively unknown autobiographies, including Richard Warren’s overlooked narrative. An analysis of less publicized texts extends the Canadian literary canon and challenges the dominant paradigm of the North American slave

: 340). This mutual reinforcement of material-economic and symbolic factors becomes strikingly visible in the intra-racial abjection evidenced in figu- rations of white trash. The role of literary analysis within the project of a class-conscious Critical Whiteness Studies, then, must be to trace the processes of signification and figuration that shape these structures, and to pay close attention to the moments where class and race confuse and distort each other. nated from an engagement with Marxist-materialist approaches to US history, including his own work

patience with the close reading practice of cultural texts. I must admit that I have found it rather difficult to gather empirical material with regard to my subject of analysis. The internet has been a valuable source, and I have been lucky enough to interview one of the most popular male confessional writers of the 1990s, Nick Hornby. By embedding literary analysis in a broader, socio-cultural inves- tigation of the 1990s I wish to address a readership interested in inter- disciplinary research. Therefore, the question of how much of the the- ory on which my

, narrowing the readership down to a se- lected group of specialists capable of understanding his analysis. This hy- brid approach oscillates between literary analysis, on the one hand, and the patronization of the reader ignorant to medical knowledge on the other hand: “These episodes are difficult to diagnose. Their gradual onset, long duration and ab- sence of movement argue against epilepsy. Paralysis is seen in cataplexy, but attacks are usually brief and consciousness is preserved. Psychiatric diseases such as schiz- ophrenia with catatonia or episodic

Conclusion The uncanny, as an emotion evoking fear and terror, has generated a multiplicity of forms and discourses in various disciplines ever since its first theorizations by Ernst Jentsch and Siegmund Freud. This multiplicity results from an openness that allows the uncanny to be many things at once: an emotional effect, a psychoanalytical symptom, an aesthetic category, a visual chimera, or a literary technique. The fact that Freud’s highly influential psychoanalytic study “The Uncanny” (1919) also contains an elaborate literary analysis of

-up opera- tions and the practices of digital analysis allow changed approaches to litera- ture as an object of investigation, but also require them. Initially, the increase in capacity provides new possibilities in the choice of materials for scientific research. Jockers’ Macroanalysis illustrates this for the case of literary analysis. When the human capacity to read and systematically capture the content of literary texts is no longer the limiting criterion for scientific research, corpora can be investigated and texts can be compared with each other on a large

only useful in this context, but they were themselves created by these technical disciplines. In my essay, the reasons for adopting cognitive theories of emotion in the context of literary analysis will be weighed. Furthermore, I shall make reference to the fact that only cognitively-based emotions result in individual, variable and relative emotionally-steered actions, whereas non-cognitive emotions result in inescapable consequences. This is because cognitive emotions can be defined as radically individual emotions, which permit deliberate choices

reverberations of Sharon L. Snyder and David T. Mitchell’s literary analysis of disability as a ‘narrative prosthesis,’ Lennard J. Davis builds on the observation that “media loves disability” and takes a critical look at the casting of non-disabled actors for roles with disabilities in a wide selection of mainstream film and television productions ranging from The Big Bang Theory to Pandora. Drawing attention to fair employment discrepancies in the movie business, he makes a call Foreword: Culture – Theor y – Disability 13 similar to that of Rosemarie Garland

text- and, more precisely, literature-centred cultural studies, this thesis combines the theories of Critical Whiteness Studies and the sociology of class with the methodology of literary analysis in order to trace tainted whiteness and its various guises in contemporary British literature. Such a methodologically complex and interdisciplinary approach is necessary in order to do justice to the overlaps and reciprocal 14 Brit ish White Trash relations between the various spheres and discourses that produce classed and raced subject positions. Thus, I take my