STUDIES IN THE NOVEL最新文献

{"title":"Contributors","authors":"","doi":"10.1353/sdn.2024.a921066","DOIUrl":"https://doi.org/10.1353/sdn.2024.a921066","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Contributors <!-- /html_title --></li> </ul> <p>Trevor Jackson received his Ph.D. in Interdisciplinary Humanities in 2018 from the University of California, Merced. He teaches at the University of the Pacific in Stockton, California.</p> <p>Ivan Kreilkamp is Professor of English at Indiana University and a co-editor of <em>Victorian Studies</em>. He has published three books: <em>Voice and the Victorian Storyteller</em> (Cambridge UP, 2005), <em>Minor Creatures: Persons, Animals, and the Victorian Novel</em> (Chicago UP, 2018), and <em>A Visit From the Goon Squad Reread</em> (Columbia UP, 2021).</p> <p>Peter Morey is Professor of Twentieth-Century Literature at the University of Birmingham. His books include <em>Fictions of India: Narrative and Power</em> (Edinburgh UP, 2000); <em>Rohinton Mistry</em> (Manchester UP, 2004); <em>Alternative Indias</em> (Rodopi, 2006); <em>Framing Muslims</em> (co-authored with Amina Yaqin; Harvard UP, 2011); <em>Culture, Diaspora, and Modernity in Muslim Writing</em> (co-edited with Rehana Ahmed and Amina Yaqin; Routledge, 2012); and <em>Islamophobia and the Novel</em> (Columbia UP, 2018).</p> <p>Anne Stiles is Professor of English and Coordinator of Medical Humanities at Saint Louis University. She is the author of <em>Children’s Literature and the Rise of “Mind Cure”: Positive Thinking and Pseudo-Science at the</em> Fin de Siècle (Cambridge UP, 2020) and <em>Popular Fiction and Brain Science in the Late Nineteenth Century</em> (Cambridge UP, 2012).</p> <p>Brian J. Williams is Professor of English at Tennessee Tech University, specializing in twentieth- and twenty-first-century American literature. His research focuses on contemporary U.S. war literature, particularly texts that question or challenge older, canonical modes of representing war and trauma in order to rethink how global warfare demands an expansion of what counts as “war literature.”</p> Copyright © 2024 Johns Hopkins University Press and the University of North Texas ... </p>","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"221 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140019558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Queer Disappearance in Modern and Contemporary Fiction by Benjamin Bateman (review)","authors":"Michael Dango","doi":"10.1353/sdn.2024.a921063","DOIUrl":"https://doi.org/10.1353/sdn.2024.a921063","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;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Queer Disappearance in Modern and Contemporary Fiction&lt;/em&gt; by Benjamin Bateman &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Michael Dango &lt;/li&gt; &lt;/ul&gt; BATEMAN, BENJAMIN. &lt;em&gt;Queer Disappearance in Modern and Contemporary Fiction&lt;/em&gt;. New York and Oxford: Oxford University Press, 2023. 208 pp. $85.00 hardcover; $85.00 e-book. &lt;p&gt;The superfine close readings of Benjamin Bateman’s &lt;em&gt;Queer Disappearance in Modern and Contemporary Fiction&lt;/em&gt; support an important argument about the linkage between a queer refusal of visibility and an environmental ethic of leaving no trace. Attending both to canonical queer texts (e.g., E. M. Forster’s &lt;em&gt;Maurice&lt;/em&gt;) and to more recent entries (Shola von Reinhold’s &lt;em&gt;Lote&lt;/em&gt;), Bateman advances the study of queer ecology through a nuanced update to the antisocial thesis. At the same time, he intervenes into critical assessments of novels that overly romanticize a conflation of queerness and the great outdoors.&lt;/p&gt; &lt;p&gt;Key to Bateman’s analysis is his introductory development of what he calls the “perish-performative,” inspired by Eve Kosofsky Sedgwick’s sense of the “periperformative” sometimes overshadowed by the more heroic performative speech act. Joining the ranks of Anne-Lise François’s “recessive action” and Lauren Berlant’s “lateral agency,” the perish-performative is a paradoxical appearance of withdrawal. As an activist form, ACT UP’s die-ins provide a concrete example. For Bateman, it is a strategy attuned not only to the politics of death, however, but to the politics of the Anthropocene, modeling a kind of queer underachievement that, building on the queer ecological work of Nicole Seymour and Sarah Ensor, declines neoliberalism’s exhausting drive for self-actualization and instead provides “an affective corollary to the material restraint of ecological conservation” (33).&lt;/p&gt; &lt;p&gt;The queer can disappear in a variety of ways, which Bateman explores through reading five novels. In Forster’s &lt;em&gt;Maurice&lt;/em&gt;, queerness is “a way of relating to life that decenters the human and fuzzes distinctions between life and its others” (59). Fuzzing is also at stake in Lydia Millett’s reverse-Bildungsroman &lt;em&gt;How the Dead Dream&lt;/em&gt;, whose protagonist T. gives up on what Jonathan Crary has called late capitalism’s 24/7 culture of alertness and finds in sleep the loss of both his masculinity and the separateness of the human, sensing out interspecies “solidarities to be found in prostration rather than productivity” (134). In Willa Cather’s &lt;em&gt;My Ántonia&lt;/em&gt;, the identities of characters are canceled and “overwhelm[ed]” by the &lt;strong&gt;[End Page 108]&lt;/strong&gt; “engulfing” environment of the Great Plains, and so, too, the author—whose first name ends with the letter that begins her protagonist’s—“disappears into her novels” and “haunts them as a sort of internal death drive, ","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"18 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140019562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rogues in the Postcolony: Narrating Extraction and Itinerancy in India by Stacey Balkan (review)","authors":"Elizabeth Carolyn Miller","doi":"10.1353/sdn.2024.a921062","DOIUrl":"https://doi.org/10.1353/sdn.2024.a921062","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;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Rogues in the Postcolony: Narrating Extraction and Itinerancy in India&lt;/em&gt; by Stacey Balkan &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Elizabeth Carolyn Miller &lt;/li&gt; &lt;/ul&gt; BALKAN, STACEY. &lt;em&gt;Rogues in the Postcolony: Narrating Extraction and Itinerancy in India&lt;/em&gt;. Morgantown: West Virginia University Press, 2022. 216 pp. $99.99 hardcover; $29.99 paper; $29.99 e-book. &lt;p&gt;Stacey Balkan’s &lt;em&gt;Rogues in the Postcolony: Narrating Extraction and Itinerancy in India&lt;/em&gt; reads recent Indian novels in the context of rogue literature, making an argument about old genres of colonialism and displacement that remain vital today. The book’s central claim is that signature tropes of the sixteenth-century Spanish picaresque genre, along with similar rogue genres from the English-language tradition, have been picked up by contemporary Indian writers to communicate the conditions of environmental and social precarity that attend postcolonial life in the Global South. The book examines five novels by three Indian authors: Amitav Ghosh’s &lt;em&gt;Ibis Trilogy&lt;/em&gt; (&lt;em&gt;Sea of Poppies&lt;/em&gt; [2008], &lt;em&gt;River of Smoke&lt;/em&gt; [2011], and &lt;em&gt;Flood of Fire&lt;/em&gt; [2015]), Indra Sinha’s &lt;em&gt;Animal’s People&lt;/em&gt; (2007), and Aravind Adiga’s &lt;em&gt;The White Tiger&lt;/em&gt; (2008). Balkan’s approach to these novels is comparative across time and demonstrates the affordances of the picaresque to communicate postcolonial environmental and social violence in the contemporary global scene.&lt;/p&gt; &lt;p&gt;Balkan describes the “rogue in the postcolony” in these novels as a descendant of early modern progenitors such as “the itinerant ‘Lazarillo de Tormes’ (1554)...scraping by in the shadows of imperial Spain” (1). What do these characters have in common across the gap of centuries? Both are subject to social conditions of displacement and mass migration, produced in earlier historical periods by the enclosure of the commons and in more recent history by extractive capitalism among other forces. From such conditions come subaltern mobility and itinerancy, qualities that define the rogue figure in literature and shape the picaresque genres in which he (and it is usually a he) features. Balkan describes “extreme deprivation and forced itinerancy” as key “tropes of the picaresque genre that can be traced to the sixteenth-century Spanish tradition” but that also provide a “template for narrating life in the shifting topographies of late capitalism” (4). The precarity of life under late capitalism is only intensified and worsened by climate change, and part of Balkan’s goal in the book is to show the utility of longstanding picaresque forms and tropes for narrating life in an era of climate chaos.&lt;/p&gt; &lt;p&gt;Beyond their mobility and precarity, rogue and picaro figures are of interest to Balkan because of the way they challenge the assumptions baked into the bourgeois no","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"5 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140019568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Modernism and the Aristocracy: Monsters of English Privilege by Adam Parkes (review)","authors":"Alex Murray","doi":"10.1353/sdn.2024.a921064","DOIUrl":"https://doi.org/10.1353/sdn.2024.a921064","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;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Modernism and the Aristocracy: Monsters of English Privilege&lt;/em&gt; by Adam Parkes &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Alex Murray &lt;/li&gt; &lt;/ul&gt; PARKES, ADAM. &lt;em&gt;Modernism and the Aristocracy: Monsters of English Privilege&lt;/em&gt;. Oxford: Oxford University Press, 2023. 336 pp. $100.00 hardcover. &lt;p&gt;As is perhaps appropriate for the subject at hand, Adam Parkes has written a monumental, authoritative study of aristocracy in British modernism. Evidently the product of many decades of scholarship, it will remain the final word on the topic for some time, and an important contribution to modernist studies more generally. As Parkes notes in his introduction, this was a period in which the British aristocracy suffered a series of blows which David Cannadine influentially labelled the “unmaking” of the British aristocratic and landed classes: from the agricultural crises of the 1870s through 1890s, the introduction of an estate tax with the Finance Act of 1894, the death of significant numbers of the aristocracy during the First World War, the loss of landholdings in Ireland following the War of Independence, and the erosion of income from overseas estates and investments as the empire crumbled. More broadly, the spread of suffrage, as well as the culture of democracy and the democratization of culture, fundamentally changed British views of class. Parkes’s central thesis is that modernist literature undertook an “imaginative remaking” of the British aristocracy that cannot be grasped simply as critique or celebration, but as a series of moods (3). As Parkes notes, given how pervasive aristocratic culture is in literary modernism, it is striking that it “has been sitting in plain sight for so long that it’s easy to forget it’s there” (15). While there are a great many books on the fascist politics of British and European modernisms (Jameson, Carlston, Hewitt, Frost), and recent work on conservatism (Hadjiyiannis), the aristocratic has been neglected: like all good books, &lt;em&gt;Modernism and the Aristocracy&lt;/em&gt; is so essential that it’s almost impossible to understand why it hasn’t been written before.&lt;/p&gt; &lt;p&gt;Parkes organizes his study around a “cluster of attitudes, affects, and moods, which operate as tropes” (17). This gives the book a dynamic structure, although at times it can be a little disorienting, with authors appearing in multiple chapters or particularly important authors only getting brief cameos. Chapter One examines the stupidity of aristocracy in D. H. Lawrence and Aldous Huxley (although as the chapter develops Huxley takes center stage). They are, of course, both deeply reactionary and anti-democratic writers, but as Parkes explains, each “hanker[s] after some form of aristocracy, natural and intuitive in Lawrence’s case, rational and intellectual in Huxley’s,” which makes them both trenchant crit","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"47 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140019731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"History Digs a Shallow Grave\": Queer Temporality in Emily M. Danforth's Lesbian Gothic","authors":"Rachel M. Friars","doi":"10.1353/sdn.2023.a913306","DOIUrl":"https://doi.org/10.1353/sdn.2023.a913306","url":null,"abstract":"<p><p>Danforth’s <i>Plain Bad Heroines</i> (2020) revels in the disruption of time through erotic physicality. Because the Gothic and the queer break the bounds of normative constructions of time, the horror of <i>Plain Bad Heroines</i> arrives in the effect that queer Gothic time has on queer bodies by allowing them to delight in rejecting linearity while they run the risk of destabilizing their identities as they encounter the past. This article demonstrates that such disruption is particularly prevalent in neo-Victorian lesbian Gothic fiction by reading the novel through Freeman’s (2010) concept of erotohistoriography in two ways: first, by focusing on the way queer time effects and facilitates queer embodiment through the setting(s). Second, Gothic doubling is both an erotic and disorderly element of queer time’s effect on the lesbian body in <i>Plain Bad Heroines</i>. Temporal collapse allows the characters to encounter each other and the past, but with dire consequences.</p></p>","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"29 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Growing Absurd: Sexuality, Development, and Virgin Time in Dorothy Richardson's Pilgrimage","authors":"Julyan Oldham","doi":"10.1353/sdn.2023.a913304","DOIUrl":"https://doi.org/10.1353/sdn.2023.a913304","url":null,"abstract":"<p><p>This article proposes that virginity is a site of strange temporality in the modern novel, one that demonstrates the value of studying time and sexuality as intertwined concepts. With reference to late nineteenth-century ideas of time and development, I theorize ‘virgin time’ as a narrative mode in which a sexual future is constantly expected but never arrives. The article goes on to explore how Dorothy Richardson’s novel sequence <i>Pilgrimage</i> interrogates the pressures of individual and narrative developmental markers (such as virginity loss). I suggest that <i>Pilgrimage</i> emphasizes the eroticism of anticipation and curiosity rather than consummation, and consider the narrative implications of the protagonist Miriam’s long-foreshadowed virginity loss at the end of book ten, <i>Dawn’s Left Hand</i>. Drawing on critical responses to <i>Pilgrimage</i>, this essay also argues that virgin time can challenge reader expectations of sexual and narrative development.</p></p>","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"76 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Zadie Smith Brings Time into the House: Embodied Temporalities in NW","authors":"Cynthia Quarrie","doi":"10.1353/sdn.2023.a913307","DOIUrl":"https://doi.org/10.1353/sdn.2023.a913307","url":null,"abstract":"<p><p>This paper takes a new look at the relationship between Zadie Smith’s widely-discussed 2008 essay, “Two Paths for the Novel,” and her subsequent experimental novel, <i>NW</i> (2012), focusing on Smith’s critique of Tom McCarthy’s implicitly post-racial and masculinist avant-garde aesthetic. Drawing on Sara Ahmed’s image of the well-worn path (to which her phrase “strange temporalities” is attached), as well as Tyler Bradway’s argument for narrative temporality as “a condition of possibility for queerness,” this paper examines the ways in which queer, feminine, and racialized bodies diverge from McCarthy’s path. As Smith puts it in her novel, whether they want to or not, “women come bearing time.” This essay examines the temporalities these bodies are caught up in, as they make use of the affordances of the lyrical realist novel, but with attention to its elisions, and by pushing on its limits.</p></p>","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"42 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Feeling Angry: White Creole Cognition in Jean Rhys's Novels of Slow Futurity","authors":"Valentina Montero Román","doi":"10.1353/sdn.2023.a913302","DOIUrl":"https://doi.org/10.1353/sdn.2023.a913302","url":null,"abstract":"<p><p>This essay reads Jean Rhys’s early twentieth-century novels through theories of slowness developing in fields like eco-criticism, disability studies, and feminist studies. Reading Rhys through these paradigms suggests that her novels can be understood not just as noting the limitations of narratives of progressive development and their temporalities, but as offering a different way for narrating humanity within them. The recursive, fragmented cognitive representation of Rhys’s writing privileges the slow futurities that exist within developmental time and depicts a story of how someone feels as a valuable story of subjectivity. In the end, an analysis that privileges slowness instead of progress offers insight into the ways Rhys’s novels function, but it also suggests the ways Western conceptualizations of progressive individualism continue to inflect our theories and our criticism.</p></p>","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"18 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Contributors","authors":"","doi":"10.1353/sdn.2023.a913309","DOIUrl":"https://doi.org/10.1353/sdn.2023.a913309","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; Contributors &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;/ul&gt; &lt;p&gt;Aristides Dimitriou (PhD, UC Berkeley) is an Assistant Professor of English at Gettysburg College where he teaches courses on ethnic literatures of the US and hemispheric American studies. His work has been published in &lt;em&gt;MELUS&lt;/em&gt;, &lt;em&gt;Arizona Quarterly&lt;/em&gt;, and &lt;em&gt;College Literature&lt;/em&gt;. He is currently developing a book that examines how US, Caribbean, and Latin American authors developed a decolonial imagination by experimenting with time and narrative in the twentieth century.&lt;/p&gt; &lt;p&gt;Angela Yang Du is a Postdoctoral Fellow at the University of North Carolina-Asheville and a PhD candidate at the University of Toronto. Her dissertation for Social Justice podcast.&lt;/p&gt; &lt;p&gt;Rachel M. Friars is a doctoral candidate in the Department of English Language and Literature at Queen’s University in Kingston, Ontario, Canada. Her current research centers on neo-Victorianism and nineteenth-century lesbian literature and history. Her work has been published with Palgrave Macmillan, the &lt;em&gt;Journal of Neo-Victorian Studies&lt;/em&gt;, Lexington Books, &lt;em&gt;Crime Studies Journal&lt;/em&gt;, and &lt;em&gt;Queer Studies in Media and Popular Culture&lt;/em&gt;, and is forthcoming in &lt;em&gt;The Palgrave Handbook of Neo-Victorianism&lt;/em&gt;.&lt;/p&gt; &lt;p&gt;Tara MacDonald is Associate Professor and Department Chair at the University of Idaho. Her research and teaching focus on nineteenth-century literature, gender, and narrative theory. She is the author of &lt;em&gt;Narrative, Affect, and Victorian Sensation: Wilful Bodies&lt;/em&gt; (Edinburgh University Press) and &lt;em&gt;The New Man, Masculinity and Marriage in the Victorian Novel&lt;/em&gt; (Routledge).&lt;/p&gt; &lt;p&gt;Valentina Montero Román is an Assistant Professor of English at the University of California, Irvine. Her research and teaching focus on gender, race, and narrative form. Her work appears in &lt;em&gt;Genre&lt;/em&gt;, &lt;em&gt;Modern Fiction Studies&lt;/em&gt;, and the essay collection &lt;em&gt;Latinx Ciné in the Twenty-First Century&lt;/em&gt;.&lt;/p&gt; &lt;p&gt;Julyan Oldham is an AHRC-funded DPhil student at Magdalen College, University of Oxford. With reference to a wide range of writers from Virginia Woolf and Dorothy Richardson to Wyndham Lewis and Aldous Huxley, their research looks at virginity in early twentieth-century British novels. They are particularly interested in how the language of virginity sheds new light on modernist stylizations of time, sentimentality, Englishness, and spirituality.&lt;/p&gt; &lt;p&gt;Chiara Pellegrini is an Associate Lecturer in English literature at Newcastle University. She has published on queer theory and film adaptation, trans memoirs and narrative time, queer temporalities in film and television, and textual bodies in intersex narratives. She is the co-editor of a special issue of &lt;em&gt;Narrative&lt;/em&gt; entitled “Trans/forming Narrative Studies” (2024). Her monograph &lt;em&gt;Trans Narrators: First-Person For","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"3 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"Things Done and Undone\": Zora Neale Hurston's Temporality of Refusal","authors":"Aristides Dimitriou","doi":"10.1353/sdn.2023.a913303","DOIUrl":"https://doi.org/10.1353/sdn.2023.a913303","url":null,"abstract":"<p><p>This essay argues that temporality becomes inseparable from the intersectionality of race and gender in Zora Neale Hurston’s <i>Their Eyes Were Watching God</i>. By emphasizing the need to negotiate unequal, androcentric conventions, Hurston historicizes the experience of time as predetermined, restricting, and subjugating from the position of a Black female subjectivity. In response, Hurston develops a strange temporality necessitating refusal through successive negations that, paradoxically, advance this subject toward greater autonomy. Hurston combines linearity and non-linearity to capture this dialectical conflict, instantiating in novel form the autonomy and agency that Lindsey Stewart aligns with a “politics of Black joy.” This process defines what I call Hurston’s <i>temporality of refusal</i>, which renders the novel coextensive with a form of becoming that is otherwise unavailable across Hurston’s transnational contexts.</p></p>","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"21 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}