Bøger udgivet af The Ohio State University Press

Draws on current theories of trauma to examine the prehistory of those psychic and somatic responses to trauma now known as PTSD and their influence on Victorian fiction.

From its opening insistence on "not love but procedure," Hanae Jonas's Softly Undercover explores the possibilities and limitations of ritual and repetition, asking what it means to believe and see clearly. Formally rangy poems map out territories of devotion and divination, contrasting the realm of mystery, dreams, and symbols with the alienation of the mundane. Against a backdrop of intimate relationships, small towns, rural landscapes, and claustrophobic interiors, Jonas casts her gaze on isolation, nostalgia, repression, visibility, and loss while examining the desire "to go anywhere more docile / than facts." Animated by uncertainty, this elliptical and lyrical debut dwells in the pleasures and hazards of illusion.

In Surprised by Shame, Deborah A. Martinsen combines shame studies and literary criticism. She begins with a discussion of shame dynamics, including the tendency of those who witness shame to feel shame themselves. Because Dostoevsky identified shame as a fundamental source of lying, Martinsen focuses on scenes when liars are exposed. She argues that by making readers witness such scandal scenes, Dostoevsky surprises them with shame, thereby collapsing the distance between readers and characters and viscerally involving them in his message of human interconnection.Treating Dostoevsky's liars as case studies, Surprised by Shame discusses varieties of shame and shamelessness; it also illustrates how Dostoevsky uses lying to indicate and expose subconscious processes. In addition, Martinsen demonstrates how Dostoevsky plucks shame from the realm of character trait and plot motive and embeds it in the narrative dynamics of The Idiot, Demons, and The Brothers Karamazov, thereby plunging readers into fictional experience and ethically transforming them.By focusing on shame, this book uncovers new perspectives on Dostoevsky as writer and psychologist. By exposing how shame dynamics implicate readers in texts' ethical actions, it enriches understanding of his tremendous influence on twentieth-century thinkers and writers. Finally, reading Dostoevsky as a prophet of shame-begotten violence reveals his universal relevance in a twenty-first century already scarred by acts of violence.

National Book Critics Circle Award Finalist"Susan Kiyo Ito is like a surgeon operating on herself. She is delicate, precise, and at times cutting with her words. But it is all in service of her own healing and to encourage us all to be brave enough to do the same in our own stories." -W. Kamau BellGrowing up with adoptive nisei parents, Susan Kiyo Ito knew only that her birth mother was Japanese American and her father white. But finding and meeting her birth mother in her early twenties was only the beginning of her search for answers, history, and identity. Though the two share a physical likeness, an affinity for ice cream, and a relationship that sometimes even feels familial, there is an ever-present tension between them, as a decades-long tug-of-war pits her birth mother's desire for anonymity against Ito's need to know her origins, to see and be seen. Along the way, Ito grapples with her own reproductive choices, the legacy of the Japanese American incarceration experience during World War II, and the true meaning of family. An account of love, what it's like to feel neither here nor there, and one writer's quest for the missing pieces that might make her feel whole, I Would Meet You Anywhere is the stirring culmination of Ito's decision to embrace her right to know and tell her own story.

"A searing memoir about growing up behind the Iron Curtain, motherhood, addiction, and finding sustenance in the natural world." -KirkusIn The Hunger Book, Agata Izabela Brewer evokes her Polish childhood under Communism, where the warmth of her grandparents' love and the scent of mushrooms drying in a tiny apartment are as potent as the deprivations and traumas of life with a terrifyingly unstable, alcoholic single mother. Brewer indelibly renders stories of foraging for food, homemade potato vodka (one of the Eastern Bloc's more viable currencies), blood sausage, sparrows plucked and fried with linseed oil, and the respite of a country garden plot, all amid Stalinist-era apartment buildings, food shortages, martial law, and nuclear disaster in nearby Ukraine.Brewer reflects on all of this from her immigrant's vantage point, as she wryly tries to convince her children to enjoy the mushrooms she gathers from a roadside and grieves when they choose to go by Americanized versions of their Polish names. Hunting mushrooms, like her childhood, carried both reward and mortal peril. The Hunger Book, which includes recipes, is an unforgettable meditation on motherhood and addiction, resilience and love.

In The Feeling of Letting Die, Jennifer MacLure explores how Victorian novels depict the feelings that both fuel and are produced by an economic system that lets some people die in service of the free market. MacLure argues that Victorian authors present capitalism's death function as a sticking point, a series of contradictions, and a problem to solve as characters grapple with systems that allow, demand, and cause the deaths of their less fortunate fellows. Utilizing Achille Mbembe's theorization of necropolitics, MacLure uses the term "necroeconomics," positioning Victorian authors-even those who were deeply committed to liberal capitalism-as hyperaware of capitalism's death function. Examining both canonical and lesser-known works by Elizabeth Gaskell, Harriet Martineau, Charles Dickens, William Morris, and George Eliot, The Feeling of Letting Die shows capitalism as not straightforwardly imposed via economic policy but instead as a system functioning through the emotions and desires of the human beings who enact it. In doing so, MacLure reveals how emotion functions as both the legitimating epistemic mode of capitalism and its most salient threat.

Storytelling shapes how we view our cities, legitimizing histories, future plans, and understandings of the urban. City Scripts responds to calls by literary theorists to engage a new kind of narrative analysis that recalibrates close reading and interpretation to the multiple ways in which narratives "do things"-how they intervene in the world and take action in everyday life. A multidisciplinary cast of contributors approaches this new way of looking at cities through the stories people tell about them, looking especially at political activism and urban planning, which depend on the invention of plausible stories of connectedness and of a redemptive future. The stakes are especially high in cities where economic, ecological, and social futures are delimited by histories of large-scale extraction and racialized industrial labor. Contributors thus focus on cities in postindustrial areas of Germany and the United States, examining how narratives about cities become scripts and how these scripts produce real-life results. This approach highlights how uses of narrative and scripting appeal to stakeholders in urban change. These actors continually deploy narrative, media, and performance, with consequences for urban futures worldwide. Contributors: Lieven Ameel, Juliane Borosch, Barbara Buchenau, Florian Deckers, Barbara Eckstein, Kornelia Freitag, Walter Grünzweig, Randi Gunzenhäuser, Jens Martin Gurr, Elisabeth Haefs, Chris Katzenberg, Johannes Maria Krickl, Renee M. Moreno, Hanna Rodewald, Julia Sattler, Maria Sulimma, James A. Throgmorton, Michael Wala, Katharina Wood

At the intersection of 1980s pop culture, the Cold War, and the trials of coming of age sits Melt with Me. Paul Crenshaw takes up a range of topics from Star Wars to video games, Choose Your Own Adventure books to the Satanic Panic. Blending the personal with the historical, levity with gravity, Crenshaw shows how pop culture shaped those who grew up in 1980s America: how Reagan's Strategic Defense Initiative drove fears of nuclear war, how professional wrestling taught us everyone was either a good guy or a bad guy, how Bugs Bunny cartoons reflected the absurdity of war and mutually assured destruction, and how video games taught young boys, in particular, that no matter how hard they tried to save it, the world would end itself. Reflecting on the decade and its dark influence on fear-based notions of nation and manhood, Crenshaw writes, "All this reminds me I'm still afraid of the same things I was afraid of as a child. Some days I think the movies are real and we're watching the last hour of humanity. You'll have to decide if there's any hope."

"A pocket adventure for environmentalists and those who enjoy meditative writing." -KirkusWe contain the elements of our world in archives, boxes, collections, mausoleums, history books, and museums, trying to stave off their eventual disappearance from our memory and from the earth in a futile attempt at redemption for our violence against them. In Zoo World, Mary Quade examines our propensity for damage, our relationships with other species, our troubling belief in our own dominion, and the reality that when you put something in a cage, it becomes your responsibility. Her subjects are as eclectic as mallard ducks, ancient churches, monarch butterflies, classrooms, tourism, street markets, zoos, and dairy cows and as global as migration, war, language, and climate change. Whatever the topic at hand, Zoo World considers how our stewardship of the earth and one another falls short, hoping that a more humble understanding of our place on the planet might lead not only to our mutual survival but also to the extinction of our hubris as human beings. Replete with Quade's lyrical and observational gifts and refusing to let any of us off the hook in the name of inspiration or comfort, these essays are a fresh take on travel and nature writing, pushing both in thrilling new directions.

Never watch The Exorcist, Marlena Williams's mother told her, just as she'd been told by her own mother as a Catholic teen in rural Oregon when the horror classic premiered. And like her mother, Mary, Williams watched it anyway. An inheritance passed from mother to daughter, The Exorcist looms large-in popular culture and in Williams's own life, years after Mary's illness and death. In Night Mother, Williams investigates the film not only as a projection of Americans' worst fears in the tumultuous 1970s and a source of enduring tropes around girlhood, faith, and transgression but also as a key to understanding her mother and the world she came from.The essays in Night Mother delve beneath the surface of The Exorcist to reveal the deeper stories the film tells about faith, family, illness, anger, guilt, desire, and death. Whether tracing the career of its young star, Linda Blair, unpacking its most infamous scenes, exploring its problematic depictions of gender and race, or reflecting on the horror of growing up female in America, Williams deftly blends bold personal narrative with shrewd cultural criticism. Night Mother offers fresh insights for both fans of the film and newcomers alike.

In Pregnancy in the Victorian Novel-the first book-length study of the topic-Livia Arndal Woods traces the connections between literary treatments of pregnancy and the medicalization of pregnancy and childbirth occurring over the long nineteenth century. Woods uses the problem of pregnancy in the Victorian novel (in which pregnancy is treated modestly as a rule and only rarely as an embodied experience) to advocate for "somatic reading," a practice attuned to impressions of the body on the page and in our own messy lived experiences. Examining works by Emily Brontë, Charlotte Mary Yonge, Anthony Trollope, George Eliot, Thomas Hardy and others, Woods considers instances of pregnancy that are tied to representations of immodesty, poverty, and medical diagnosis. These representations, Woods argues, should be understood in the arc of Anglo-American modernity and its aftershocks, connecting backward to early modern witch trials and forward to the criminalization of women for pregnancy outcomes in twenty-first-century America. Ultimately, she makes the case that by clearing space for the personal and anecdotal in scholarship, somatic reading helps us analyze with uncertainty rather than against it and allows for richer and more relevant textual interpretation.

In the late nineteenth century, a new era began in American urban history, characterized by an explosion of both the populations and the proportions of cities, obliterating their traditional social and physical characteristics. Commercial businesses relocated, slums emerged around the core, and new residential areas were established along the periphery. The period was one of extreme disorder-labor and ethnic unrest, election violence, rising crime rates-but it was also a time of political innovation and civic achievement.In documenting the changes Cincinnati experienced during the Progressive Era, Zane L. Miller provides a clear perspective on the processes of urbanization that transformed the American city. His focus is political because politics provided continuity amid the diversity of city life. The most important aspect of political continuity in Cincinnati and in other cities was "bossism," often depicted as an example of corruption, but which was in many cities part of the quest for a new urban order. In Cincinnati, Boss George B. Cox's machine was a response to the disorder of the times; interestingly, the machine actually helped to control disorder, paving the way for later reforms. Miller carefully explores both the nature and the significance of bossism, showing how it and municipal reform were both essential components of the modern urban political system.Originally published in 1968, Boss Cox's Cincinnati is considered a classic in the field of urban studies.

In Romanticism's Other Minds: Poetry, Cognition, and the Science of Sociability, John Savarese reassesses early relationships between Romantic poetry and the sciences, uncovering a prehistory of cognitive approaches to literature and demonstrating earlier engagement of cognitive approaches than has heretofore been examined at length. Eighteenth- and early nineteenth-century writers framed poetry as a window into the mind's original, underlying structures of thought and feeling. While that Romantic argument helped forge a well-known relationship between poetry and introspective or private consciousness, Savarese argues that it also made poetry the staging ground for a more surprising set of debates about the naturally social mind. From James Macpherson's forgeries of ancient Scottish poetry to Wordsworth's and Coleridge's Lyrical Ballads, poets mined traditional literatures and recent scientific conjectures to produce alternate histories of cognition, histories that variously emphasized the impersonal, the intersubjective, and the collective. By bringing together poetics, philosophy of mind, and the physiology of embodied experience-and with major studies of James Macpherson, Anna Letitia Barbauld, William Wordsworth, and Walter Scott-Romanticism's Other Minds recovers the interdisciplinary conversations at the heart of Romantic-era literary theory.

Do we take pleasure in reading ancient Greek tragedy despite the unsettling content or because of it? Does a safe aesthetic distance protect us from tragic suffering, or does the proximity to death tap into something more primal? Aristotle proposed catharsis, an emotional cleansing-or, in later interpretations, a sense of equilibrium-as tragedy's outcome, and Sigmund Freud and Jacques Lacan, grand theorists of the forces of anti-mastery in human and nonhuman existence, surprisingly agreed. Notwithstanding this deferral to Aristotle, their theorizations of the death drive-together with Jacques Derrida's notion of the archive as a place of conservation that inevitably fails-provide the groundwork for a radically new way of understanding tragic aesthetics. With bold readings of thirteen plays by Aeschylus, Sophocles, and Euripides, including the Oedipus cycle, the Oresteia, Medea, and Bacchae; an eclectic synthesis of Freud, Lacan, Derrida, ¿i¿ek, Deleuze, and other critical theorists; and an engagement with art, architecture, and film, Mario Telò's Archive Feelings: A Theory of Greek Tragedy locates Greek tragedy's aesthetic allure beyond catharsis in a vertiginous sense of giddy suspension, in a spiral of life and death that resists equilibrium, stabilization, and all forms of normativity. In so doing, Telò forges a new model of tragic aesthetics.

The essays included in this collection seek to take the pulse of recent developments in narratological research in the French-speaking countries. Theorists in these countries heavily participated in and shaped narratology, an outgrowth of the structuralist movement during the 1960s and 1970s. While US, German, and Scandinavian theorists took the forefront in the 1990s, narratology in France faded into the background. It was not until the turn of the century that a new interest in narratological issues among French researchers emerged. Activity in the field has since intensified, spurred on, in part, by the realization that narratology cannot be summed up by its formalist and structuralist origins.

In Novels of Displacement: Fiction in the Age of Global Capital, Marco Codebò assesses the state of fiction in our time, an age defined by the combined hegemony of global capital and software. Codebò argues that present-day displacement originates in the dualism of power that pervades our polarized society and in the sweeping deterritorialization that is affecting people, objects, and signs. As the ties between subjectivity and territory break, being in the world means being displaced. Rather than narrating how subjectivity can mark a place, novels of displacement convey the crisis of subjectivity's connection to place. Using four works as case studies-Bernardo Carvalho's Nove noites, Daniel Sada's Porque parece mentira la verdad nunca se sabe, Zadie Smith's White Teeth, and Mathias Énard's Zone-Codebò investigates how globalization, displacement, and technology inform our understanding of subjectivity and one's place in the world. Coming from different literary traditions--Brazilian-Portuguese, Spanish, English, and French-- Novels of Displacement traces the development of displacement caused by organized crime, migration, and war. Ultimately what emerges from this study is evidence of how cultures of untruth damage but do not destroy human agency.

The Politics of Privacy in Contemporary Native, Latinx, and Asian American Metafictions is the first book-length study to approach contemporary issues of racialized visibility and privacy through narrative form. Using a formal maneuver, narrative privacy, Colleen G. Eils analyzes how writers of contemporary metafictions explicitly withhold stories from readers to illuminate and theorize the politics of privacy in a post-9/11 US context. As a formal device and reading strategy, narrative privacy has two primary critical interests: affirming the historically political nature of visibility, particularly for people of color and indigenous people, and theorizing privacy as a political assertion of power over representation and material vulnerability. Eils breaks strict disciplinary silos by putting visibility/surveillance studies, ethnic studies, and narrative studies in conversation with one another. Eils also puts texts in the Native, Latinx, and Asian American literary canon in conversation with each other. She focuses on texts by Viet Thanh Nguyen, David Treuer, Monique Truong, Rigoberto González, Nam Le, and Stephen Graham Jones that call into question our positions as readers and critics. In deliberately and self-consciously evading readers through the form of their fiction, these writers seize privacy as a political tool for claiming and wielding power in both representational and material registers.

The player is a womanizer, a trickster, a gambler-but can Asian American men fully participate in this kind of masculinity? In Asian American Players, Audrey Wu Clark showcases how the literary figure of the Asian American player unsettles the hegemony of white American masculinity through mimicry, even as that masculinity socially and politically alienates him. She examines gendered and racialized US militarism through works written during major postmodern American wars, investigating how books by John Okada, David Henry Hwang, Chang-rae Lee, Frances Khirallah Noble, and Viet Thanh Nguyen (re)fashion Asian American masculinity in ways that ultimately mimic masculinist American foreign policy and military strategies during corresponding wars. She unearths a dual picture of Asian American players: as traces of the anxiety of America's quest for empowerment and continued military and industrial dominance in the international arena and as those tarred as inferior and disloyal outsiders within this mirrored global dominance. She thus finds new inroads into understanding US imperialism and militarism and identifies ways that key literary figures have written against insidious tropes.

"A fascinating search for personal and cultural identity." -KirkusThomas C. Gannon's Birding While Indian spans more than fifty years of childhood walks and adult road trips to deliver, via a compendium of birds recorded and revered, the author's life as a part-Lakota inhabitant of the Great Plains. Great Horned Owl, Sandhill Crane, Dickcissel: such species form a kind of rosary, a corrective to the rosaries that evoke Gannon's traumatic time in an Indian boarding school in South Dakota, his mother's devastation at racist bullying from coworkers, and the violent erasure colonialism demanded of the people and other animals indigenous to the United States.Birding has always been Gannon's escape and solace. He later found similar solace in literature, particularly by Native authors. He draws on both throughout this expansive, hilarious, and humane memoir. An acerbic observer-of birds, the environment, the aftershocks of history, and human nature-Gannon navigates his obsession with the ostensibly objective avocation of birding and his own mixed-blood subjectivity, searching for that elusive Snowy Owl and his own identity. The result is a rich reflection not only on one man's life but on the transformative power of building a deeper relationship with the natural world.