Broadview Anthology of American Literature, Vol. A: Beginnings to 1820 ed. by Derrick R. Spires et al.(评论)

IF 0.3 3区 文学 0 LITERATURE, AMERICAN
Abram van Engen
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Spires et al. <!-- /html_title --></li> <li> Abram van Engen (bio) </li> </ul> <em>The Broadview Anthology of American Literature<span>, Vol. A:</span> Beginnings to 1820</em><br/> <small>edited by</small> <small>derrick r. spires</small>, <small>christina roberts</small>, <small>joseph rezek</small>, <small>justine s. murison</small>, <small>laura l. mielke</small>, <small>christopher looby</small>, <small>rodrigo Lazo</small>, <small>alisha knight</small>, <small>hsuan L. hsu</small>, <small>rachel greenwald smith</small>, <small>michael everton</small>, and <small>christine bold</small><br/> Broadview Press, 2022<br/> 1044 pp. <p>The new <em>Broadview Anthology of American Literature</em> is a thing to behold. I mean that quite literally. After all our studies of book history—knowing how much the material product matters—we nonetheless stuck <strong>[End Page 233]</strong> for years to the same basic format: tiny print, crammed pages, and a weighty tome. The new <em>Broadview</em>, while still weighty, does not feel crammed. It uses double columns and wide pages to make the text seem almost inviting. I might pick this anthology over others on that basis alone, hoping it would lessen student dread when they start to read. But beyond a better feel, the double column also enables comparisons of related texts and side-by-side translations. I mean this sincerely: a change in format may seem small, but it makes a big difference.</p> <p>So what do these columns actually contain? Seeking as wide a representation as possible, the editors have included a huge array of diverse voices, some of which have not appeared in prior anthologies (see below for a list of new authors). It is an excellent and exhaustive account of what Karin Wulf has called \"vast early America\" (\"Vast Early America: Three Simple Words for a Complex Reality,\" <em>Humanities</em>, vol. 40, no. 2, Winter 2019, https://www.neh.gov/article/vast-early-america), and it is governed, as the editors note, by according \"a place of utmost significance to slavery, the legacy of slavery, and, more generally, the ongoing struggle for equality\" (xxxi). Such a theme was not ignored by other anthologies, but it has never been given so much emphasis.</p> <p>Several principles of selection surround that theme: keeping the most-taught texts, adding space for once-popular authors (so much Longfellow!), and pushing forward some writers \"who we believe deserve to be more widely taught\" (xxvi) or who \"have been unjustly neglected\" (xxxii). The end result is an extraordinary display of the well-known and the little-considered. To make space for so much material, the anthology includes a large website portion, edited like the physical text. Authors on the website are listed in the table of contents, which increases their visibility, though the printed text remains primary. Altogether, the anthology offers a remarkable collection with good online teaching aids, stunning visuals, and a powerful emphasis on the inclusion of voices from every part of America.</p> <p>In many ways, the new <em>Broadview</em> tells us where we stand as a field, so I want to reflect on just volume A (to 1820) as a portrait of early American literary studies. Ever since Eric Slauter noted a \"trade gap\" between history and English, early American literature has discussed how much literary scholars rely on or adopt historical methods in their work (\"History, Literature, and the Atlantic World,\" <em>EAL</em>, vol. 43, no. 1, 2008, pp. 153–86). In this anthology, historical methods do seem to hold considerable sway. For <strong>[End Page 234]</strong> example, contextual material about literary genres has been moved entirely online. The editors say they did so after surveying the field and finding that instructors wanted \"key aspects of the historical background\" more than \"overviews of the literary genres\" (xxvii). History takes priority. That emphasis can affect the choice of texts as well. Edward Taylor, described as \"one of the foremost religious poets in colonial America\" (322), receives four printed pages, whereas Michael Wigglesworth's rather hellish poetry and tortured diary take up fourteen. Wigglesworth was popular in his own day and never since, so the inclusion of so much of his writing suggests that we teach him largely to access a historical period and its mindset. Wigglesworth also, in that way, becomes the more representative Puritan of the two. 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Spires et al. <!-- /html_title --></li> <li> Abram van Engen (bio) </li> </ul> <em>The Broadview Anthology of American Literature<span>, Vol. A:</span> Beginnings to 1820</em><br/> <small>edited by</small> <small>derrick r. spires</small>, <small>christina roberts</small>, <small>joseph rezek</small>, <small>justine s. murison</small>, <small>laura l. mielke</small>, <small>christopher looby</small>, <small>rodrigo Lazo</small>, <small>alisha knight</small>, <small>hsuan L. hsu</small>, <small>rachel greenwald smith</small>, <small>michael everton</small>, and <small>christine bold</small><br/> Broadview Press, 2022<br/> 1044 pp. <p>The new <em>Broadview Anthology of American Literature</em> is a thing to behold. I mean that quite literally. After all our studies of book history—knowing how much the material product matters—we nonetheless stuck <strong>[End Page 233]</strong> for years to the same basic format: tiny print, crammed pages, and a weighty tome. The new <em>Broadview</em>, while still weighty, does not feel crammed. It uses double columns and wide pages to make the text seem almost inviting. I might pick this anthology over others on that basis alone, hoping it would lessen student dread when they start to read. But beyond a better feel, the double column also enables comparisons of related texts and side-by-side translations. I mean this sincerely: a change in format may seem small, but it makes a big difference.</p> <p>So what do these columns actually contain? Seeking as wide a representation as possible, the editors have included a huge array of diverse voices, some of which have not appeared in prior anthologies (see below for a list of new authors). It is an excellent and exhaustive account of what Karin Wulf has called \\\"vast early America\\\" (\\\"Vast Early America: Three Simple Words for a Complex Reality,\\\" <em>Humanities</em>, vol. 40, no. 2, Winter 2019, https://www.neh.gov/article/vast-early-america), and it is governed, as the editors note, by according \\\"a place of utmost significance to slavery, the legacy of slavery, and, more generally, the ongoing struggle for equality\\\" (xxxi). Such a theme was not ignored by other anthologies, but it has never been given so much emphasis.</p> <p>Several principles of selection surround that theme: keeping the most-taught texts, adding space for once-popular authors (so much Longfellow!), and pushing forward some writers \\\"who we believe deserve to be more widely taught\\\" (xxvi) or who \\\"have been unjustly neglected\\\" (xxxii). The end result is an extraordinary display of the well-known and the little-considered. 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引用次数: 0

摘要

以下是内容的简要摘录,以代替摘要:评论者 A: Beginnings to 1820 ed. by Derrick R. Spires et al. Abram van Engen (bio) The Broadview Anthology of American Literature, Vol.Spires、Christina Roberts、Joseph Rezek、Justine S. Murison、Laura L. Mielke、Christopher Looby、Rodrigo Lazo、alisha knight、hsuan L. hsu、Rachel Greenwald Smith、Michael everton 和 Christine bold 编 Broadview Press, 2022 1044 pp.新出版的《Broadview 美国文学选集》令人目不暇接。我指的是字面上的意思。在我们对图书历史进行了深入研究之后--我们知道物质产品有多么重要--多年来,我们仍然坚持 [尾页 233]相同的基本格式:小字体、挤满的页面和厚重的大部头。新版《博览》虽然依然厚重,但并不显得拥挤。它使用了双栏和宽版面,使文字看起来几乎很诱人。仅凭这一点,我就会选择这本选集,希望它能减轻学生开始阅读时的恐惧感。但是,除了更好的感觉之外,双栏还可以进行相关文本的比较和并列翻译。我的意思很诚恳:格式上的改变看似微小,却能带来很大的不同。那么,这些栏目究竟包含哪些内容呢?为了寻求尽可能广泛的代表性,编者们收录了大量不同的声音,其中一些并未出现在以往的选集中(新作者名单见下文)。这本文集出色而详尽地描述了卡琳-伍尔夫(Karin Wulf)所说的 "广袤的早期美国"(《广袤的早期美国》,《Vast Early America:正如编者所指出的那样,它是根据 "一个对奴隶制、奴隶制的遗产,以及更广泛地说,对正在进行的争取平等的斗争具有极其重要意义的地方"(xxxi)来进行管理的。)其他选集并未忽视这一主题,但从未如此重视。围绕这一主题有几条选文原则:保留最受欢迎的文章,为曾经受欢迎的作家增加篇幅(朗费罗就是如此!),并将一些 "我们认为值得更广泛传授"(xxvi)或 "被不公正地忽视"(xxxii)的作家推向前台。最终的结果是,书中的作品既有广为人知的,也有鲜为人知的。为了给这么多的材料腾出空间,选集包括了一个很大的网站部分,编辑方式与实体文本相同。网站上的作者被列在目录中,这增加了他们的可见度,但印刷文本仍是主要内容。总之,这本文选是一本出色的文集,具有良好的在线教学辅助工具、令人惊叹的视觉效果,并大力强调吸纳来自美国各地的声音。在许多方面,新版《博览》告诉了我们作为一个领域所处的位置,因此我想仅从 A 卷(至 1820 年)来反思美国早期文学研究。自从埃里克-斯劳特(Eric Slauter)指出历史与英语之间存在 "贸易鸿沟 "以来,早期美国文学就一直在讨论文学学者在工作中依赖或采用历史方法的程度(《历史、文学与大西洋世界》,EAL,第43卷,第1期,2008年,第153-86页)。在本选集中,历史方法似乎确实占据了相当大的优势。例如 [End Page 234] ,有关文学流派的背景材料被完全移到了网上。编者说,他们是在对该领域进行调查后发现,教师们更需要 "历史背景的关键方面",而不是 "文学流派的概述"(xxvii)。历史优先。这种重视也会影响对文本的选择。被誉为 "美国殖民地时期最重要的宗教诗人之一 "的爱德华-泰勒(Edward Taylor)(322页)只占了四页,而迈克尔-维格斯沃斯(Michael Wigglesworth)的地狱诗歌和折磨人的日记却占了十四页。维格斯沃斯在他自己的时代就很受欢迎,自那以后就再也没有流行过,因此收录他如此多的作品表明,我们教他主要是为了了解一个历史时期及其心态。维格斯沃斯也因此成为两人中更具代表性的清教徒。与泰勒不同,他向编辑们展示了一位坚定的清教徒牧师是如何 "在...
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Broadview Anthology of American Literature, Vol. A: Beginnings to 1820 ed. by Derrick R. Spires et al. (review)
In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • The Broadview Anthology of American Literature, Vol. A: Beginnings to 1820 ed. by Derrick R. Spires et al.
  • Abram van Engen (bio)
The Broadview Anthology of American Literature, Vol. A: Beginnings to 1820
edited by derrick r. spires, christina roberts, joseph rezek, justine s. murison, laura l. mielke, christopher looby, rodrigo Lazo, alisha knight, hsuan L. hsu, rachel greenwald smith, michael everton, and christine bold
Broadview Press, 2022
1044 pp.

The new Broadview Anthology of American Literature is a thing to behold. I mean that quite literally. After all our studies of book history—knowing how much the material product matters—we nonetheless stuck [End Page 233] for years to the same basic format: tiny print, crammed pages, and a weighty tome. The new Broadview, while still weighty, does not feel crammed. It uses double columns and wide pages to make the text seem almost inviting. I might pick this anthology over others on that basis alone, hoping it would lessen student dread when they start to read. But beyond a better feel, the double column also enables comparisons of related texts and side-by-side translations. I mean this sincerely: a change in format may seem small, but it makes a big difference.

So what do these columns actually contain? Seeking as wide a representation as possible, the editors have included a huge array of diverse voices, some of which have not appeared in prior anthologies (see below for a list of new authors). It is an excellent and exhaustive account of what Karin Wulf has called "vast early America" ("Vast Early America: Three Simple Words for a Complex Reality," Humanities, vol. 40, no. 2, Winter 2019, https://www.neh.gov/article/vast-early-america), and it is governed, as the editors note, by according "a place of utmost significance to slavery, the legacy of slavery, and, more generally, the ongoing struggle for equality" (xxxi). Such a theme was not ignored by other anthologies, but it has never been given so much emphasis.

Several principles of selection surround that theme: keeping the most-taught texts, adding space for once-popular authors (so much Longfellow!), and pushing forward some writers "who we believe deserve to be more widely taught" (xxvi) or who "have been unjustly neglected" (xxxii). The end result is an extraordinary display of the well-known and the little-considered. To make space for so much material, the anthology includes a large website portion, edited like the physical text. Authors on the website are listed in the table of contents, which increases their visibility, though the printed text remains primary. Altogether, the anthology offers a remarkable collection with good online teaching aids, stunning visuals, and a powerful emphasis on the inclusion of voices from every part of America.

In many ways, the new Broadview tells us where we stand as a field, so I want to reflect on just volume A (to 1820) as a portrait of early American literary studies. Ever since Eric Slauter noted a "trade gap" between history and English, early American literature has discussed how much literary scholars rely on or adopt historical methods in their work ("History, Literature, and the Atlantic World," EAL, vol. 43, no. 1, 2008, pp. 153–86). In this anthology, historical methods do seem to hold considerable sway. For [End Page 234] example, contextual material about literary genres has been moved entirely online. The editors say they did so after surveying the field and finding that instructors wanted "key aspects of the historical background" more than "overviews of the literary genres" (xxvii). History takes priority. That emphasis can affect the choice of texts as well. Edward Taylor, described as "one of the foremost religious poets in colonial America" (322), receives four printed pages, whereas Michael Wigglesworth's rather hellish poetry and tortured diary take up fourteen. Wigglesworth was popular in his own day and never since, so the inclusion of so much of his writing suggests that we teach him largely to access a historical period and its mindset. Wigglesworth also, in that way, becomes the more representative Puritan of the two. Unlike Taylor, he demonstrates for the editors how a staunch Puritan minister "was at the...

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EARLY AMERICAN LITERATURE
EARLY AMERICAN LITERATURE LITERATURE, AMERICAN-
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