CEA CRITIC最新文献

{"title":"Illustration as Simile: Conversations between Visual and Textual in Tales from Shakespeare","authors":"Nina Elisabeth Cook","doi":"10.1353/cea.2024.a922348","DOIUrl":"https://doi.org/10.1353/cea.2024.a922348","url":null,"abstract":"<p><p>Abstract:</p><p>The relationship between word and image reached new levels of complexity with the rise of illustration in the late-eighteenth and nineteenth centuries. Scholars in recent years have argued for the visual arts as not merely a means of textual enrichment but also as interpretation and critique, a view particularly prevalent in studies of nineteenth-century paintings of Shakespearean subjects. While many of these contemporary studies center on painting, this theory of the critical role of visual art can be applied to illustration. Taking the oeuvre of Victorian illustrator John Moyr Smith as a case study, this article examines the purpose of illustration in nineteenth-century prose. Moyr Smith’s 1879 illustrations for Tales from Shakespeare are principal here in exploring how illustrations supplement, modify, and even critique a text, the overall effect that illustrators can be seen something akin to co-authors.</p></p>","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"68 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140125458","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}

{"title":"The Spectral Famine in Anthony Trollope's Castle Richmond","authors":"Hande Tekdemir","doi":"10.1353/cea.2024.a922353","DOIUrl":"https://doi.org/10.1353/cea.2024.a922353","url":null,"abstract":"<p><p>Abstract:</p><p>Anthony Trollope’s <i>Castle Richmond</i> (1860) is one of the period’s rare novels on the Irish Famine written by an English writer. In the rapidly changing society of the long nineteenth-century England, the novel form had gradually assumed a social function that interrogated unprecedented progress caused by rapid urbanization, industrialization, and imperialism, albeit from a conventionally middle-class perspective. Regardless, the Irish Famine was underrepresented in the genre, especially given how authors portrayed at length the massacres and uprisings that occurred in the English colonies such as India and the Caribbean Islands. Trollope was not to blame for this problem: in addition to his four other novels set in Ireland, <i>Castle Richmond</i> is directly related to the famine. My aim in this essay is to argue that the spectrality of the famine plot haunts (as it were) the novel’s main plot, which follows Realistic Victorian Novel conventions. Instead of merely nodding to progressivist ideas, the sudden, unexpected, and disruptive scenes of the famine plot deviate from the realist thread, however briefly, and adulterate the narrative with Gothic undertones. Moreover, these brief famine scenes, which can alternatively be defined as “snapshots” of trauma, question English famine policy. The scenes thereby gain a thematic importance to the novel’s otherwise predictable Victorian plot.</p></p>","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"300 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140125725","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}

{"title":"On Teaching Trollope in the 'Seventies","authors":"Charles Moran","doi":"10.1353/cea.2024.a922352","DOIUrl":"https://doi.org/10.1353/cea.2024.a922352","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; On Teaching Trollope in the ‘Seventies &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Charles Moran (bio) &lt;/li&gt; &lt;/ul&gt; &lt;p&gt;In our quest for “relevant” literature, Trollope’s fiction is almost certain to be overlooked—considered amusing but a trifle tedious, perhaps good escape fiction but not, certainly, important, not significant. So it was with some trepidation that I assigned &lt;em&gt;The Warden&lt;/em&gt; to my students in the spring of ‘71. I need not have worried. Trollope took care of himself nicely. Thinking of my students’ deep response to the novel, and my own doubts about teaching Trollope at all, it becomes clear to me that we stand to lose much by somewhat timidly assuming that Consciousness III, or even Consciousness II, will not receive delight—and instruction—from this “lesser novelist,” as David Cecil has called him. Trollope has these lessons to teach us: that men are individuals, not types; that motives for action are mixed and difficult to perceive; and that the consequences of action are complex and difficult to predict. In a time when we are bombarded by stereotypes from all sides, when we assign simple motives to “radicals” and “pigs,” and when we assume that Yankee ingenuity will discover easy solutions to complicated problems, we must read Trollope. Not only does he say what badly needs saying; he says it in a way that can make us listen. Our students will read Trollope, if we let them. &lt;strong&gt;[End Page 76]&lt;/strong&gt;&lt;/p&gt; &lt;p&gt;&lt;em&gt;The Warden&lt;/em&gt; presents us with three trendy figures: the idealistic reformer, the moss-backed conservative, and the man of conscience caught between the extremes of left and right. The value of the novel is not the nature of its subject, however, but the fullness with which the subject is presented. Trollope’s characters are not types but complicated individuals, amalgams of good and bad. John Bold, the reformer, is sincere, energetic, brave, eager, amusing, enterprising, and of good character. He is also impulsive and self-deceived. His motives for demanding ‘justice’ for the bedesmen are mixed: he wants to improve the lot of Barchester’s poor, and he wants to get his name into the papers. Trollope adds further complications: Bold is living upon inherited wealth, and it becomes obvious that his income, as well as Mr. Harding’s, should be redistributed. Further, Bold’s independent income has left him without a career and with a great deal of free time. It is part of the truth that John Bold, a man of energy and enterprise, attacks the administration of Hiram’s Hospital because he has nothing better to do.&lt;/p&gt; &lt;p&gt;Archdeacon Grantly, Bold’s antagonist, is also difficult to judge: he is a selfish, materialistic man who lives to increase the power of the established church. And yet, Trollope tells us, he is the inevitable product of his training and environment. And he is “a gentleman of conscience; he spend","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"234 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140125612","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}

{"title":"Perceiving the Human through the Nonhuman: Posthumanism in Issac Asimov's The Bicentennial Man","authors":"Hawk Chang","doi":"10.1353/cea.2024.a922347","DOIUrl":"https://doi.org/10.1353/cea.2024.a922347","url":null,"abstract":"<p><p>Abstract:</p><p>Since the late twentieth century, stories of humanoid robots have undermined a clear-cut boundary between humans and nonhumans. Traditionally, the mainstream opinion has been dominated by human-centered discourse, in which robots are invariably nonhumans that are characterized by inferiority, servitude, and lack. This mindset to subordinate robots as servants is outdated, evidenced by Issac Asimov’s novella <i>The Bicentennial Man</i>. In this story, the robot protagonist Andrew is in many aspects similar to humans, and he even commits to becoming a human at the cost of many benefits he enjoys in the form of an immortal machine. Ultimately, what Andrew’s story teaches is not so much related to the changing status of robots as a re-examination of the authentic qualities of humanity. By using the critical lens of posthumanism, this essay focuses on this end and then uses it to consider the expanding world of Artificial Intelligence.</p></p>","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"234 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140125621","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}

{"title":"Seeing Race in Post-Racial America: Spectatorship and Visibility of the Racial Experience in Branden Jacobs-Jenkins' An Octoroon (2014)","authors":"Bomi Jeon","doi":"10.1353/cea.2024.a922350","DOIUrl":"https://doi.org/10.1353/cea.2024.a922350","url":null,"abstract":"<p><p>Abstract:</p><p>This article examines the theatrical representation of race and its political implications in Branden Jacobs-Jenkins’ <i>An Octoroon</i> (2014), a modern reworking of Dion Boucicault’s play <i>The Octoroon</i> (1859). It offers a critical analysis of <i>An Octoroon</i> that compels readers to recognize that race, although a product of historical construction, holds significant real-world implications. The discussion of the play begins with its prologue, the importance of which has not been addressed sufficiently by critics. After delving into Jacobs-Jenkins’ diagnosis of colorblind American society through his alter-ego character, BJJ, the essay examines how Boucicault’s original play presents an ambiguous gaze that creates a masking practice often overlapping with colorblind subjects who refuse to address the existing racial inequality and prejudice that Jacobs-Jenkins critiques. Despite <i>The Octoroon</i>’s sympathetic treatment of the mixed-race heroine’s suffering body, Boucicault’s stage version gradually endorses a white hegemony that defines race as an invisible essence while separating the white audience from the racialized spectacle. The final section revisits <i>An Octoroon</i> and argues that the adaptation’s use of the oppositional gaze and the materiality of a photograph as a reflective visual medium challenges the easy separation between the spectacle of race and the perspectives of white viewers.</p></p>","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"74 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140125646","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}

{"title":"An Orchestrated Awakening: Latent Irish-ness at the Heart of Yeats's Seminal Work","authors":"Jaclyn Maria Fowler","doi":"10.1353/cea.2023.a912097","DOIUrl":"https://doi.org/10.1353/cea.2023.a912097","url":null,"abstract":"<p><p>Abstract:</p><p>\"The Lake Isle of Innisfree\" is more subtle than the poet's more myth- and folklore-facing poems like \"Cuchulainn's Fight with the Sea\" and \"A Faery Song.\" Yet, it fits squarely in the realm of the nineteenth-century movement known as the Celtic Revival. At its core, the movement sought to reestablish the rich artistic and folkloric traditions of the Irish that had long been outlawed under British rule. To inspire understanding of what it meant to be Irish, writers and artists of all stripes reintroduced Celtic art and dancing, music and theatre, poetry, athletics, and spiritual practices. Myth cycles and pseudo-historical figures took their places once more in the imagination of the Irish, and as a major contributor to the Celtic Revival, Yeats became the high priest of Irish-ness.</p></p>","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"78 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138531105","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}

{"title":"The Poet in the Natural World: Dissolving Epiphanies in the Poetry of W. S. Merwin","authors":"Dean Mendell","doi":"10.1353/cea.2023.a912105","DOIUrl":"https://doi.org/10.1353/cea.2023.a912105","url":null,"abstract":"<p><p>Abstract:</p><p>Merwin was a Buddhist, and aspects of Buddhism and transcendental Romanticism mingle in his nature poetry. His poems are fundamentally Romantic but differ in two ways. Coleridge suggests in <i>The Friend</i> that we choose to feel alienated because \"we think of ourselves as separated beings, and place nature in antithesis to the mind, as object to subject, thing to thought\" (520). For Merwin that antithesis is instead an unavoidable consequence of writing, and it occasions a sense of alienation that enters the poem and nudges aside the feeling of relatedness he cherishes.</p></p>","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"75 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138531112","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}

{"title":"Editor's Introduction: The CEA Conference in San Antonio: A Pivot Point","authors":"Jeraldine R. Kraver","doi":"10.1353/cea.2023.a912095","DOIUrl":"https://doi.org/10.1353/cea.2023.a912095","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; Editor's Introduction&lt;span&gt;The CEA Conference in San Antonio: A Pivot Point&lt;/span&gt; &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Jeraldine R. Kraver &lt;/li&gt; &lt;/ul&gt; &lt;h2&gt;The CEA Conference in San Antonio: A Pivot Point&lt;/h2&gt; &lt;p&gt;To those of us of a certain age, the definition of &lt;em&gt;pivot&lt;/em&gt; immediately conjures the sport of basketball and the act of rotating on one's stationary foot. More recently, though, the word has been used to describe the ability of an organization or institution to reimagine itself—to adapt to the changing nature of, well . . . &lt;em&gt;everything&lt;/em&gt;. The term came into vogue especially during the COVID pandemic, when \"pivoting\" and being \"nimble\" were essential to remaining viable. Scott Galloway, New York University professor and co-host of the podcast &lt;em&gt;Pivot&lt;/em&gt;, describes the concept as \"a strategic change in business model, direction, or target market.\" Reflecting not only on the CEA Conference in San Antonio but also on the association during the past few years, Galloway's definition of &lt;em&gt;pivot&lt;/em&gt; might be just the right term to describe where the CEA stands as an organization: we are pivoting.&lt;/p&gt; &lt;p&gt;The CEA and its journal, &lt;em&gt;The CEA Critic&lt;/em&gt;, turned 85 this year. The conference in San Antonio marked the 52nd time we have gathered as an organization separate from MLA (even after splintering from the MLA in 1938, CEA members continued to meet alongside the MLA in those early years). Our evolution mirrors the evolution of both our profession and our discipline, whether in the good ways or the less-good ones. For example, papers presented at the annual conference and articles published in &lt;em&gt;The CEA Critic&lt;/em&gt; reflect the expansion of topics, modes, and genres that compose the study of English. Similarly, as evidence that the CEA acknowledges the changing nature of employment in the humanities, the Karen Lentz Madison Award for Scholarship recognizes the work of adjunct or contingent faculty. (And you can read this year's award-winning essay by Eric Larson in this issue.)&lt;/p&gt; &lt;h2&gt;Changing with the Times&lt;/h2&gt; &lt;p&gt;As a community of teacher-scholars, the CEA looks to adapt to the shifts that characterize the profession. As I write, the humanities are at risk across the nation. Our colleagues in Morgantown are facing massive program cuts, and one has the sinking feeling that West Virginia University might just be the canary in the coal mine. Meanwhile, programs such as ChatGPT and Google Bard are inspiring headlines announcing the death of the college essay. Course syllabi now include statements about using AI alongside the traditional warnings about plagiarism and academic integrity. Of course, it doesn't stop there. Among &lt;em&gt;The Edvocate's&lt;/em&gt; list of the 20 biggest &lt;strong&gt;[End Page vii]&lt;/strong&gt; challenges facing higher education are matters about ensuring diversity and inclusion (#4), addressing studen","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"53 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138531106","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}

{"title":"Labor-Based and/or Rubric-Based? Examining the Effects of a Hybrid Grading System in the Composition Classroom","authors":"Elizabeth N. Tran","doi":"10.1353/cea.2023.a912106","DOIUrl":"https://doi.org/10.1353/cea.2023.a912106","url":null,"abstract":"<p><p>Abstract:</p><p>Both labor-based and rubric-based grading systems attempt to mitigate subjectivity in the assessment of writing, and while each method has their advantages, they also come with a slew of weaknesses. Scholars such as Asao B. Inoue, Laura Gibbs, and Denise Krane support labor-based grading because this method reinforces process pedagogy, which, Chris M. Anson comment, helps \"students engage in their writing to develop self-efficacy, confidence, and strategies for meeting the challenges of multiple writing situations\" (226). On the other end of the spectrum is rubric-based grading, which presents students with a set of clear rules that guide their writing process. Whatever the case, both labor-based and rubric-based grading methods fail to account for classroom ecology.</p></p>","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"36 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138531103","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}

{"title":"The Impossibility of Postmemory in Diasporic Anglophone Lebanese Texts","authors":"Syrine Hout","doi":"10.1353/cea.2023.a912101","DOIUrl":"https://doi.org/10.1353/cea.2023.a912101","url":null,"abstract":"<p><p>Abstract:</p><p>Marianne Hirsch maintains that literature based solely on \"postmemory\"—that is, second-hand memories passed down from a generation that experienced a collective trauma to a subsequent one that did not—is qualitatively different because it is connected to its object of study not through recollection but through an imaginative investment. Following this definition, Lebanese writings stemming exclusively from postmemories of the Civil War cannot be expected to emerge before the second half of the twenty-first century. However, this long view of postmemory, I contend, is not tenable in the case of Lebanon.</p></p>","PeriodicalId":41558,"journal":{"name":"CEA CRITIC","volume":"279 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138531104","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}