Second half of twentieth century sees literary criticism interpreting the role of history, itself subject to interpretations bearing upon the kind of notion one has of history, as one of the dominant modes of creating ‘literature’ along with the persona of the artist. Oscar Wilde says that, “an artist is not an isolated fact, he is the resultant of a certain milieu and a certain entourage” – an assessment which is foregrounded in rise of the intellectual movements of Historicism, New Historicism, and Cultural Materialism during late 1970s USA and early 1980s Britain.
Shakespeare gave and withheld knowledge to craft his plot and engage his audience. We are taken on a guided ride from which we glimpse what the playwright chooses thus forming our layers of knowledge through which we are manipulated. What we know can be what we knew before attending the play, based on dialogue from the characters, or from reported speech of events off stage and even in times before the play.
PCDP 2019: Fairies and the Fantastic
February 22-23, 2019
Those scholars committed to an inter-disciplinary perspective on human experiences confront centuries-old divisions between and among the natural sciences, social sciences and the humanities, competing investigative methods, descriptive foci, and explanatory emphases. Bolstered by specialization, administrative demarcations, professionalization, and expertise, the discontinuities generate trajectories of intellectual enrichment and progress. On the other hand, have scholars within these intellectual spheres, disciplines, and area studies become passing ships in the night? What would constitute evidence of this condition, if this is, indeed, the case? Have scholars not been displaced from public discourse and social media?
Call for Papers, “Afterlives of The Odyssey” for the MLA International Symposium (23-25 July 2019 in Lisbon, Portugal)
How does medieval war resonate beyond the battlefield? This roundtable session invites papers that consider the relationship between medieval literature and wartime. War punctuates our understanding of the Middle Ages, providing us with frameworks for comprehending and interpreting the events of history, and the corpus of literature created in response to these conditions is equally broad. In its most literal sense, wartime literature is the narration or memorialization of events on the battlefield, from the Battle of Maldon to the work of Jordan Fantosme and the poetry attributed to Laurence Minot. Wartime, however, is less a temporal or veridical marker than a loaded conceptual term. What counts as wartime? When does it begin and end?
The achievements of Early Modern literature in English evince the relevance of translation for literary history. The impact of translation on the development of new literary modes and genres during this period is often acknowledged. It is clear, for instance, that the sonnet in English, both as a verse form and as a mode of individual lyrical expression, is traced to its introduction to the English tradition through Wyatt and Surrey’s translations of Petrarch’s Canzoniere.
Recent critical focus on media and technology maps efforts to create a dynamic classroom that at its best enriches the teaching and learning at the university. But the long-standing interest in media as a means to reach students and enhance delivery also points to an absence in current scholarship, which has not been attentive to that same media as content in the humanities classroom.
The literature produced by the communities of early Northern Europe, where the elements of craft and material culture informed the descriptive matter of both poetry and prose, has left a legacy which demands critical analysis of the ways in which the trappings of the real and the imaginary were represented. What were the relationships between figurative language, mimetic representation, the production of craft, and perceptions shaped by the visual arts? Did the allegories, symbols, emblems, fancies, and verisimilitude of literature in Old and Middle English, Old Norse/Icelandic, Early Welsh, or Early Irish provide opportunities to discuss the interface of descriptive writing with other modes of representation? Potential papers are asked to cons