... ) has made a strong case that irony should be replaced with antithesis as the fourth master trope because unlike the other three tropes, which are semantic phenomena, irony is an intentional and contextual phenomenon. Antithesis is, however, like the first three tropes, constructed through semantic...

... ) in a continuation of his oft-noted interest in child characters, however loosely the description “child” may be applied. But like his earlier film El espinazo del diablo (2001, The Devil’s Backbone) the relationship that this film proposes between children and history is immediately overshadowed by the grim...

...Jan M. Padios Jan M. Padios is an assistant professor of American studies at the University of Maryland, College Park. She is currently working on an ethnography of customer service call centers in the Philippines. Chow Rey , Not Like a Native Speaker: On Languaging...

...Timothy S. Murphy Meltzer Richard , A Whore Just Like the Rest: The Music Writings ( New York : Da Capo , 2000 ), xiv + 591 pages , $17.00 paper. REVIEWS Hajdu, David. Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan...

...Steve Pinkerton Ralph Ellison's long‐neglected essay “Tell It Like It Is, Baby” (1965) has lately received increased critical attention as a revealing paratext for Ellison's unfinished second novel. Yet little has been said about that essay's conspicuous psychosexual themes or its confoundingly...

... identifies three distinct modalities of the new opioid novel, paying particular attention to the ways these texts think through the causality of the opioid epidemic. First, some texts (novels from Julie Bunton, Brian Allen Carr, Cheryl Reed, and Jennifer Weiner), which read like detective fiction, take...

.... On this reading, a theory of time as gradual development (flow) sits in tension with a model that imagines short, sharp transitions between discrete temporal periods (structures), one “step” and another. Like Barthes, Eliot aims to think in both synchronic blocks and linear flows simultaneously. She goes further...

... from within the hypermasculine thriller. Indeed, the transnational filiations and appropriations that inform works like The Prone Gunman and Le samouraï demonstrate the need to conceptualize both gender and genre in broader contexts than they have often been given in studies of French crime fiction...

... the two sides attempt to disentangle from what seems like threatening “otherness.” Throughout there are hints that if the adversaries could instead endorse their essential interlinkage, could admit to the irresolvable contradictions of each position, then the tragic denouement could be avoided. The novel...

...Fred Botting Unrealism addresses the way unrealistic genres of writing like science fiction, horror, romance, and fantasy can display a capacity to reflect on and interrogate generic conventions. Unrealism describes a process that unsettles the literary hierarchies in which genre fiction...

..., it suggests, names an interpretational hesitation between generic frames like comedy and tragedy. In his bawdy double entendres, James provides a kind of resting place from what Susan Sontag has called the “excruciating” tonal textures of his major phase. Henry James The Sacred Fount The Golden Bowl...

... of comedy. Then the figure is reconstituted at the end of the play in the hybrid plot of tragicomedy, in which the virtuous are rewarded and the vicious punished on a stage that mingles clowns and kings. Like Shakespeare’s problem plays, however, the resolution of the figure of stigma is riddled...

... the speech of the other, and as such, it is like Judith Butler’s rhetorical “scene of address” in which a listener judges the speaker as a recognizable member of society, or not. The ranter’s language moves outside the domain of speakability, risking misunderstanding in order to confront the limitations...

... of “novelism” (adjacent to notions like lyricism and essayism) as a flexible and mobile mode of associative world-building across the arts. We can see novelism at play in the intermedial history of how novelistic forms and concerns informed the cinematic genre of the essay film. By recovering that history...

...Suk Koo Rhee This article argues that Suki Kim’s The Interpreter (2003) is influenced by and, at the same time, critically revises early American hard-boiled crime fiction, the genre with which it is least likely to be associated. Although dead bodies do not pile up in the novel, the urban world...

..., like absurdity, are mutually exclusive; or that a whole‐world view requires third‐person narrative omniscience. The analysis centers on Anna Burns's Milkman (2018), a novel set in Troubles‐era Northern Ireland that connects a young woman's experience with gendered and sexual power to the behavior...

... recovery, immigrant maximalism, and historical revision developed in feminist and critical race theory, and suggests that big, ambitious novel strategies like polyphony, fragmentation, and centripetal connectivity are the provenance of women and people of color at least as much as they are the domain...

... pages and reconstructs their semiautonomous subplots as they unfold in a world characterized by animal cruelty, species extinction, and industrial labor. By forcing us to consider the perspectives of creatures like Jim, Mishipeshu, Audrey, and Gracia, Ellmann's narrative reminds us that the climate...

... this question through a close reading of Marisha Pessl's Night Film (2013). Through the novel's intricate staging of different forms of immersion that is made possible by its extended length, this article argues that Pessl and the horror genre more generally seek to establish a difference between something like...

...” that—like prosody, music, and silence—allows her to experience a multivalent way of remembering, knowing, and being. © 2011 by University of Oklahoma 2011 Works Cited Bluemel Kristin . 1997 . Experimenting on the Borders of Modernism: Dorothy Richardson's “Pilgrimage.” Athens...