Sequel to History offers a comprehensive definition of postmodernism as a reformation of time. Elizabeth Deeds Ermarth uses a diversified theoretical approachdrawing on post-structuralism, feminism, new historicism, and twentieth-century scienceto demonstrate the crisis of our dominant idea of history and its dissolution in the rhythmic time of postmodernism. She enlarges this definition in discussions of several crises of cultural identity: the crisis of the object, the crisis of the subject, and the crisis of the sign. Finally, she explores the relation between language and time in post-modernism, proposing an arresting theory of her own about the rhythmic nature of postmodern temporality. Because the postmodern construction of time appears so clearly in narrative writing, each part of this work is punctuated by a "rhythm section" on a postmodern narrative (Robbe-Grillet's Jealousy, Cortezar's Hopscotch, and Nabokov's Ada); these extended readings provide concrete illustrations of Ermarth's theoretical positions. As in her critically acclaimed Realism and Consensus in the English Novel, Ermarth ranges across disciplines from anthropology and the visual arts to philosophy and history. For its interdisciplinary character and its lucid definition of postmodernism, Sequel to History will appeal to all those interested in the humanities.
The construction of history as a social common denominator is a powerful achievement of the nineteenth-century novel, a form dedicated to experimenting with democratic social practice as it conflicts with economic and feudal visions of social order. Through revisionary readings of familiar nineteenth-century texts The English Novel in History 1840-1895 takes a multidisciplinary approach to literary history. It highlights how narrative shifts from one construction of time to another and reformulates fundamental ideas of identity, nature and society. Elizabeth Ermarth discusses the range of novels alongside other cultural material, including painting, science, religious, political and economic theory. She explores the problems of how a society, as defined in democratic terms, can accommodate political, gender and class differences without resorting to hierarchy; and how narrowly conceived economic agendas compete with social cohesion. Students, advanced undergraduates, postgraduates and specialists will find this text invaluable.
The English Novel in History 1840-1895 refocuses in cultural terms a particularly powerful achievement in Victorian narrative - its construction of history as a social common denominator. Using interdisciplinary material from literature, art, political philosophy, religion, music, economic theory and physical science, this text explores how nineteenth-century narrative shifts from one construction of time to another and, in the process, reformulates fundamental modern ideas of identity, nature and society.
Elizabeth Deeds Ermarth, University of Edinburgh, UK, and Trent University, Canada, teaches and writes about interdisciplinary cultural history and theory. --Book Jacket.
The Elizabeth Stories serves as a legacy of Alfred Baroody's wife, Elizabeth--the author--who previously published several articles, short stories, and books. This is a collection of ten short stories and two novelettes compiled into one book. These are stories about adventure, action, mystery, and so much more.
The construction of history as a social common denominator is a powerful achievement of the nineteenth-century novel, a form dedicated to experimenting with democratic social practice as it conflicts with economic and feudal visions of social order. Through revisionary readings of familiar nineteenth-century texts The English Novel in History 1840-1895 takes a multidisciplinary approach to literary history. It highlights how narrative shifts from one construction of time to another and reformulates fundamental ideas of identity, nature and society. Elizabeth Ermarth discusses the range of novels alongside other cultural material, including painting, science, religious, political and economic theory. She explores the problems of how a society, as defined in democratic terms, can accommodate political, gender and class differences without resorting to hierarchy; and how narrowly conceived economic agendas compete with social cohesion. Students, advanced undergraduates, postgraduates and specialists will find this text invaluable.
Elizabeth Deeds Ermarth, University of Edinburgh, UK, and Trent University, Canada, teaches and writes about interdisciplinary cultural history and theory. --Book Jacket.
In this work of sweeping erudition, one of our foremost historians of early Christianity considers a variety of theoretical critiques to examine the problems and opportunities posed by the ways in which history is written. Elizabeth Clark argues forcefully for a renewal of the study of premodern Western history through engagement with the kinds of critical methods that have transformed other humanities disciplines in recent decades. History, Theory, Text provides a user-friendly survey of crucial developments in nineteenth- and twentieth-century debates surrounding history, philosophy, and critical theory. Beginning with the "noble dream" of "history as it really was" in the works of Leopold von Ranke, Clark goes on to review Anglo-American philosophies of history, schools of twentieth-century historiography, structuralism, the debate over narrative history, the changing fate of the history of ideas, and the impact of interpretive anthropology and literary theory on current historical scholarship. In a concluding chapter she offers some practical case studies to illustrate how attending to theoretical considerations can illuminate the study of premodernity. Written with energy and clarity, History, Theory, Text is a clarion call to historians for richer and more imaginative use of contemporary theory.
Sequel to History offers a comprehensive definition of postmodernism as a reformation of time. Elizabeth Deeds Ermarth uses a diversified theoretical approachdrawing on post-structuralism, feminism, new historicism, and twentieth-century scienceto demonstrate the crisis of our dominant idea of history and its dissolution in the rhythmic time of postmodernism. She enlarges this definition in discussions of several crises of cultural identity: the crisis of the object, the crisis of the subject, and the crisis of the sign. Finally, she explores the relation between language and time in post-modernism, proposing an arresting theory of her own about the rhythmic nature of postmodern temporality. Because the postmodern construction of time appears so clearly in narrative writing, each part of this work is punctuated by a "rhythm section" on a postmodern narrative (Robbe-Grillet's Jealousy, Cortezar's Hopscotch, and Nabokov's Ada); these extended readings provide concrete illustrations of Ermarth's theoretical positions. As in her critically acclaimed Realism and Consensus in the English Novel, Ermarth ranges across disciplines from anthropology and the visual arts to philosophy and history. For its interdisciplinary character and its lucid definition of postmodernism, Sequel to History will appeal to all those interested in the humanities.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The first major study on the works of the Mexican novelist, Angeles Mastretta, demonstrating the rich complexity and range of the author's fiction and essays. The Mexican novelist, Angeles Mastretta [b. 1949], has only recently received serious critical attention largely because her work has been seen as 'popular' and therefore inappropriate for academic study. This first major work tobe published on Mastretta seeks to demonstrate the rich complexity and range of the author's fiction and essays. In the tradition of Post-Boom Latin American women's writing, Mastretta's texts are motivated by a desire to speak primarily of the silenced experiences and voices of women. Two of her novels, referential and testimonial in style, can be placed within the Mexican Revolutionary Novel tradition and explore the Revolutionary period and its consequences in the light of female experiences and perspectives. The hitherto unexplored themes of female sexuality and bodily erotics in Mastretta's texts are also considered in this volume. Her feminist works avoid facile simplifications: heterogeneous and dialogical, they interweave the historical and the fictional, the everyday and the fantastic. The originality of Mastretta's writing lies in its elusive postmodern ambiguities: shimmering surfacesare often interrupted by unexpected depths and proliferating meanings cannot be fully circumscribed by critical analysis. Jane Elizabeth Lavery lectures in Latin American Studies at the University of Kent.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
An examination of technology-based education initiatives—from MOOCs to virtual worlds—that argues against treating education as a product rather than a process. Behind the lectern stands the professor, deploying course management systems, online quizzes, wireless clickers, PowerPoint slides, podcasts, and plagiarism-detection software. In the seats are the students, armed with smartphones, laptops, tablets, music players, and social networking. Although these two forces seem poised to do battle with each other, they are really both taking part in a war on learning itself. In this book, Elizabeth Losh examines current efforts to “reform” higher education by applying technological solutions to problems in teaching and learning. She finds that many of these initiatives fail because they treat education as a product rather than a process. Highly touted schemes—video games for the classroom, for example, or the distribution of iPads—let students down because they promote consumption rather than intellectual development. Losh analyzes recent trends in postsecondary education and the rhetoric around them, often drawing on first-person accounts. In an effort to identify educational technologies that might actually work, she looks at strategies including MOOCs (massive open online courses), the gamification of subject matter, remix pedagogy, video lectures (from Randy Pausch to “the Baked Professor”), and educational virtual worlds. Finally, Losh outlines six basic principles of digital learning and describes several successful university-based initiatives. Her book will be essential reading for campus decision makers—and for anyone who cares about education and technology.
In Victorian Reformations: Historical Fiction and Religious Controversy, 1820-1900, Miriam Elizabeth Burstein analyzes the ways in which Christian novelists across the denominational spectrum laid claim to popular genres—most importantly, the religious historical novel—to narrate the aftershocks of 1829, the year of Catholic Emancipation. Both Protestant and Catholic popular novelists fought over the ramifications of nineteenth-century Catholic toleration for the legacy of the Reformation. But despite the vast textual range of this genre, it remains virtually unknown in literary studies. Victorian Reformations is the first book to analyze how “high” theological and historical debates over the Reformation’s significance were popularized through the increasingly profitable venue of Victorian religious fiction. By putting religious apologists and controversialists at center stage, Burstein insists that such fiction—frequently dismissed as overly simplistic or didactic—is essential for our understanding of Victorian popular theology, history, and historical novels. Burstein reads “lost” but once exceptionally popular religious novels—for example, by Elizabeth Rundle Charles, Lady Georgiana Fullerton, and Emily Sarah Holt—against the works of such now-canonical figures as Sir Walter Scott, Charles Dickens, and George Eliot, while also drawing on material from contemporary sermons, histories, and periodicals. Burstein demonstrates how these novels, which popularized Christian visions of change for a mass readership, call into question our assumptions about the nineteenth-century historical novel. In addition, her research and her conceptual frameworks have the potential to influence broader paradigms in Victorian studies and novel criticism.
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