MISSISSIPPI QUARTERLY最新文献_第2页

Tennessee's New South: Marquita Bradshaw and Her Call for Environmental Justice 田纳西的新南方玛奎塔-布拉德肖和她对环境正义的呼吁

IF 0.1 4区文学

MISSISSIPPI QUARTERLY Pub Date : 2024-03-08 DOI: 10.1353/mss.2023.a921513

Phil Scholer

引用次数: 0

John Egerton's The Americanization of Dixie: A Fifty-Year Retrospective 约翰-埃格顿的《迪克西的美国化》：五十年回顾

IF 0.1 4区文学

MISSISSIPPI QUARTERLY Pub Date : 2024-03-08 DOI: 10.1353/mss.2023.a921510

Christopher Strain

引用次数: 0

"Southern Living from a Bygone Time": Gothic Spatialization of History in Gillian Flynn's Sharp Objects “逝去时代的南方生活”:吉莉安·弗林《利器》中历史的哥特式空间化

IF 0.1 4区文学

MISSISSIPPI QUARTERLY Pub Date : 2023-11-30 DOI: 10.1353/mss.2022.a913483

Mattias Pirholt

{"title":"\"Southern Living from a Bygone Time\": Gothic Spatialization of History in Gillian Flynn's Sharp Objects","authors":"Mattias Pirholt","doi":"10.1353/mss.2022.a913483","DOIUrl":"https://doi.org/10.1353/mss.2022.a913483","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> “Southern Living from a Bygone Time”: Gothic Spatialization of History in Gillian Flynn’s Sharp Objects </li> <li> Mattias Pirholt </li> </ul> <h2>Unhomeliness in the Old South</h2> Contemporary crime fiction, one could argue, has returned to its roots, that is, the gothic from which the genre evolved in the nineteenth century and with which it has remained intimately entangled ever since (Spooner; Hughes 83–84). If, however, as David Punter has argued, many detective stories lack the subversive qualities that characterize the gothic (167), today’s reformed crime fiction seems to embrace exactly these subversive traits. Thus, it should not come as a surprise that twentieth- and twenty-first-century crime novels adapt and incorporate various gothic conventions (MacArthur). Gillian Flynn’s stunning first novel, Sharp Objects (2006), has been called a psychological thriller, a murder mystery, and domestic noir, but more than anything else, it offers an updated version of the gothic tradition.1 Against the backdrop of a series of murders in the fictional town of Wind Gap—the murders are being investigated by crime reporter Camille Preaker, a Wind Gap native who left the town long ago to live in Chicago—the novel draws on typically gothic motifs such as “the female (abject) body, the returning (and recurring) of repressed pasts, motherhood, and the monstrous-feminine” (Gardner 53). More specifically, [End Page 381] and with a distinctively contemporary atmosphere, the story depicts mental illness in the shape of Munchausen syndrome by proxy (today known as factitious disorder imposed on another), PTSD, and female self-mutilation as well as the abuse of opioids and other prescription drugs, in addition to and in combination with alcohol, meth, and marijuana. Set in the southeastern parts of Missouri, close to the Missouri/Tennessee border, Sharp Objects might even be said to belong to, or at least geographically approach, the Southern Gothic tradition. This prolific tradition can be traced back to key writers of the American south such as William Faulkner, Carson McCullers, and Flannery O’Connor. Their novels and stories revel in the social claustrophobia of the small southern town; substance abuse; inexplicable and excessive use of violence; hereditary sins; generational, class, and gender conflicts; poverty; diseases; death; and feelings of existential despair— all of which are overshadowed by slavery and racism in their past and present manifestations. Although a sense of place is crucial to the gothic of the American south, the genre’s trademarks are less bound to a specific geography and more to what this geography implies. According to David","PeriodicalId":35190,"journal":{"name":"MISSISSIPPI QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138495460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

"They got . . .": Ernest J. Gaines's Semiotic Reversal of William Faulkner “他们得到了……”:欧内斯特·j·盖恩斯对威廉·福克纳的符号学逆转

IF 0.1 4区文学

MISSISSIPPI QUARTERLY Pub Date : 2023-11-30 DOI: 10.1353/mss.2022.a913485

Matthew Teutsch

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引用次数: 0

Watson's Faulkner: A Most Splendid Contribution 沃森的福克纳:最杰出的贡献

IF 0.1 4区文学

MISSISSIPPI QUARTERLY Pub Date : 2023-11-30 DOI: 10.1353/mss.2022.a913486

Ahmed Honeini

{"title":"Watson's Faulkner: A Most Splendid Contribution","authors":"Ahmed Honeini","doi":"10.1353/mss.2022.a913486","DOIUrl":"https://doi.org/10.1353/mss.2022.a913486","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Watson’s Faulkner: A Most Splendid Contribution </li> <li> Ahmed Honeini </li> </ul> Jay Watson, Howry Professor of Faulkner Studies at the University of Mississippi, is widely considered one of the leading authorities on Faulkner working today. His latest offerings, William Faulkner and the Faces of Modernity (2019) and its companion volume Fossil Fuel Faulkner: Energy, Modernity, and the US South (2022) are insightful, well-argued, and welcome contributions to the field. Throughout both books, Watson displays a confident command of his topic, evincing an intimate, acute knowledge of Faulkner’s centrality within the modernist canon and, indeed, the key scholarly debates surrounding modernism more broadly. Watson’s “hope” for both books is that “by returning to the utterly uncontroversial fact of Faulkner’s modernism with a critical sensibility sharpened by new modernism studies,” his scholarship “will spark further reappraisal of [Faulkner’s] distinguished and quite dazzling” oeuvre (Faces of Modernity 37). Watson deftly achieves his aim with systematic rigor across both volumes, engaging his readers with fluency, cogency, and lyricism. In William Faulkner and the Faces of Modernity, Watson divides his scholarly attention across five distinct yet interconnected concepts: rural modernization, technology and media, racial modernities, and biopolitical modernity. The book opens with an examination of modernity’s impact on rural Mississippi in As I Lay Dying and three short stories: “Mules in the Yard,” “Shingles for the Lord,” and “Barn Burning.” In these works, the rural South of the early twentieth century may outwardly appear to be diametrically opposed to—and, indeed, fundamentally incapable of embracing—modernity. Watson argues, however, that these texts in fact demonstrate that families like the Bundrens and the Snopeses take an active role in modernization: <blockquote> for a select group of Faulkner’s rural subjects, modernization isn’t something that the novelist, from his privileged regional vantage point, can see happening to them, [End Page 453] radiating outward from town and more distant centers of capitalist development, so much as something he watches them do, something they bring with them into the hamlets, towns, and cities they subsequently shock, energize, and estrange. (44) </blockquote> As such, the opening chapter of Faces of Modernity offer a riposte to any reader or scholar of Faulkner and southern fiction tempted to assert that passivity or resistance to the processes of modernization is a key theme which dominates these works, As I Lay Dying in particular. Such","PeriodicalId":35190,"journal":{"name":"MISSISSIPPI QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138495458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Pheoby's Queer Quietness in Their Eyes Were Watching God 菲比在他们注视上帝的眼睛里奇怪的安静

IF 0.1 4区文学

MISSISSIPPI QUARTERLY Pub Date : 2023-11-30 DOI: 10.1353/mss.2022.a913484

Benjamin Bagocius

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引用次数: 0

Affective Whiplash and Absurdity in George Schuyler’s Black No More 乔治-斯凯勒《不再是黑人》中的情感冲击与荒诞性

IF 0.1 4区文学

MISSISSIPPI QUARTERLY Pub Date : 2023-11-30 DOI: 10.1353/mss.2022.a913482

Alex Gergely

引用次数: 0

"Interpreters of the Sea!": Historic Preservation and Women's Poetry of the Charleston Renaissance “海的翻译!”:查尔斯顿文艺复兴时期的历史保护和女性诗歌

IF 0.1 4区文学

MISSISSIPPI QUARTERLY Pub Date : 2023-08-31 DOI: 10.1353/mss.2022.a905462

Sarah Grace Harrell

引用次数: 0

Margaret Mitchell and the Nobel Prize, or Per Hallström and Gone with the Wind Margaret Mitchell与诺贝尔奖，或Per Hallström与Gone with the Wind