Modernity is made and unmade by the anecdotal. Conceived as a literary genre, a narrative element of criticism, and, most crucially, a mode of historiography, the anecdote illuminates the convergences as well as the fault lines cutting across modern practices of knowledge production. The volume explores uses of the anecdotal in exemplary case studies from the threshold of the early modern to the present.
Modernist Fiction and News characterizes uses novel reading of Gertrude Stein, James Joyce, John Dos Passos, and Virginia Woolf to explore how these authors engaged with a rapidly expanding news industry in order to establish an experimental space in which to represent experience with the hope of greater immediacy and faithfulness to reality.
Modernity is made and unmade by the anecdotal. Conceived as a literary genre, a narrative element of criticism, and, most crucially, a mode of historiography, the anecdote illuminates the convergences as well as the fault lines cutting across modern practices of knowledge production. The volume explores uses of the anecdotal in exemplary case studies from the threshold of the early modern to the present.
Shakespeare's four-hundred-year performance history is full of anecdotes – ribald, trivial, frequently funny, sometimes disturbing, and always but loosely allegiant to fact. Such anecdotes are nevertheless a vital index to the ways that Shakespeare's plays have generated meaning across varied times and in varied places. Furthermore, particular plays have produced particular anecdotes – stories of a real skull in Hamlet, superstitions about the name Macbeth, toga troubles in Julius Caesar – and therefore express something embedded in the plays they attend. Anecdotes constitute then not just a vital component of a play's performance history but a form of vernacular criticism by the personnel most intimately involved in their production: actors. These anecdotes are therefore every bit as responsive to and expressive of a play's meanings across time as the equally rich history of Shakespearean criticism or indeed the very performances these anecdotes treat. Anecdotal Shakespeare provides a history of post-Renaissance Shakespeare and performance, one not based in fact but no less full of truth.
Ecocritique is a practice of radical questioning, as essential to the critical armoury as feminism and postcolonialism have become. Like them, it extends beyond judgements about texts with clear ecological themes, demonstrating the significance of ecocriticism for any advanced understanding of cultural forms. Anecdotal method is ecocritical because it focuses on encounters, concentrated moments of crisis when social ordering and ecological forces clash. The anecdote's power to produce events, meanings and history forms a methodological entry to aesthetic politics. Anecdotal Evidence provides an outline of the need for and principles of anecdotal method; a case study of eco-critical themes in Hollywood films shaped by the Global Financial Crisis; and a confrontation with mass image databases of social and streaming media that due to their scale and organisation appear at first immune to anecdotal method. Only because the environment has a history is it possible to intervene environmentally. Because we continually misrecognise the historical production of environments, the first task of ecocritique is to bring our formative concept of ecology into crisis. Its final task will be to achieve the good life for everything connected by the historical implication of humans in ecology, and ecology in humans. No politics can be undertaken in our times except through media: ecocritical humanities have a key role in rethinking ecopolitics in the 21st century.
Why has the West for so long and in so many different ways expressed the idea that the Chinese have a special relationship to cruelty and to physical pain? What can the history of that idea and its expressions teach us about the politics of the West's contemporary relation to China? And what does it tell us about the philosophy of modernity? The Hypothetical Mandarin is, in some sense, a history of the Western imagination. It is also a history of the interactions between Enlightenment philosophy, of globalization, of human rights, and of the idea of the modern. Beginning with Bianchon and Rastignac's discussion of whether the former would, if he could, obtain a European fortune by killing a Chinese mandarin in Balzac's Le Pere Goriot (1835), the book traces a series of literary and historical examples in which Chinese life and European sympathy seem to hang in one another's balance. Hayots wide-ranging discussion draws on accounts of torture, on medical case studies, travelers tales, photographs, plasticized corpses, polemical broadsides, watercolors, and on oil paintings. His analyses show that the historical connection between sympathy and humanity, and indeed between sympathy and reality, has tended to refract with a remarkable frequency through the lens called "China," and why the story of the West's Chinese pain goes to the heart of the relation between language and the body and the social experience of the modern human being. Written in an ebullient prose, The Hypothetical Mandarin demonstrates how the network that intertwines China, sympathy, and modernity continues to shape the economic and human experience.
A sympathetic history that focuses on the experiences of women and girls during the Holocaust and draws on new archival sources. Beginning in late 1940, over three thousand Jewish girls and young women were forced from their family homes in Sosnowiec, Poland, and its surrounding towns to worksites in Germany. Believing that they were helping their families to survive, these young people were thrust into a world where they labored at textile work for twelve hours a day, lived in barracks with little food, and received only periodic news of events back home. By late 1943, their barracks had been transformed into concentration camps, where they were held until liberation in 1945. Using a fresh approach to testimony collections, Janine P. Holc reconstructs the forced labor experiences of young Jewish females, as told by the women who survived and shared their testimony. Incorporating new source material, the book carefully constructs survivors’ stories while also taking a theoretical approach, one alert to socially constructed, intersectional systems of exploitation and harm. The Weavers of Trautenau elucidates the limits and possibilities of social relations inside camps and the challenges of moral and emotional repair in the face of indescribable loss during the Holocaust.
This collection of essays aims to widen the current critique on borders by examining their entanglements with constructions of identity and disciplinary categories. In particular, it calls into question established models of gender, notions of narrative genres and typological genera of borders in today’s literary, artistic, philosophical, and socio-political discourse. The chapters interrogate boundaries and boundary-crossing not only in terms of geographical frontiers and the physical acts of trespassing, but also as discursive constructs that police crossing subjects as gendered subjects, on the one hand, and identify artistic genres and academic disciplines as fixed, sealed-in ways of understanding the world, on the other. Taking inspiration from the multiple meanings of the Italian word genere (which stands for “gender”, “genre”, and “typology”/“genus” simultaneously), the volume reflects on the gendered, narrative, and typological nature of borders and border imagery, and on the significance and potentialities of crossover phenomena taking place in borderlands, in the fields of arts, literature, anthropology, sociology and philosophy.
