Search Results for face

... of decolonization, recurring problematics that nonetheless make the case for its existence as a distinct genre. No novel better emblematizes this genre than William Gardner Smith's The Stone Face (1963). Smith's novel is read as an attempt to narrativize the problem of intersectionality for a revolutionary...

....” Femmes Fatales: Feminism, Film Theory, Psychoanalysis . New York: Routledge, 1991 . 44 –75. Dutoit , Thomas . “Re-specting the Face as the Moral (of) Fiction in Mary Shelley’s Frankenstein.” MLN 109 ( 1994 ): 847 –71. Eaglestone , Robert . Ethical Criticism: Reading after Levinas...

...Siân Silyn Roberts LUKASIK CHRISTOPHER J. , Discerning Characters: The Culture of Appearance in Early America ( U of Pennsylvania P , 2011 ), pp. 328 , cloth, $45.00 . © 2012 by Novel, Inc. 2012 Duke University Press Written All Over the Face...

... . “Disabling Fictions: Race, History, and Ideology in Crane’s ‘The Monster.’” Studies in American Fiction 26.1 ( 1998 ): 51 –72. Mitchell , Lee Clark . Determined Fictions: American Literary Naturalism . New York: Columbia UP, 1989 . Mitchell , Lee Clark . “Face, Race, and Disfiguration...

... of the fever's spread gives Brown a stark, dramatic way of visualizing the unpredictability built into all such chains of transmission. Rather than a mark of nostalgia for an earlier age of “face-to-face” communication, this interest in casual and ephemeral channels of communication (and indifference to print...

...John Plotz This article argues that the time has come to reconsider John Stuart Mill's relationship to the novel and to pay more heed to his reflections on the complicated interplay between text-based and face-to-face forms of social intercourse. His early essay “What Is Poetry?” begins a journey...

... whole, in planetarity the aim is to maintain them in a dialogic relationality. On the face of it, such a recalibration seems relatively straightforward. However, the three novels discussed in this essay suggest that the retention of the maximal scale as a constituting frame for representation risks...

... despair in the face of devastation. Unlike Beckett's laughter that merely endures entropic decline, Atwood's survival laughter opens the possibility for dynamic, creative action oriented to the hope of transformation and flourishing, even amid seemingly total loss. Through tragicomic survival laughter...

... implications of Farah's ideas about both necropolitics and the limits of the novel form in the face of authoritarian power. Copyright © 2021 by Novel, Inc. 2021 I can remember when Somalia, the country of my birth, became dead to me . . . I intended to keep my country alive by writing about...

... seemed to personally believe that his own experiences of having “looked starvation in the face,” having passed through “circumstances of hunger” and converted them into art, were part of what gave his work value and meaning. But there is something of a paradox here, or at least an ambivalence...

... at the historical moment when the phrase losing face was entering common usage in English, The Monster confronts the invention and spread of this figure (and others) in novelistic terms, as a post-Reconstruction small-town tragedy. Ultimately, the processes by which phrases are made and come to preside...

... while it remained a historical reality. Faced with the notion that African Americans had “no family tree,” some black writers responded with novels that located recognizable bloodlines for African American families. But an unpublished novel by W. E. B. Du Bois offers a strikingly different analysis...

... with a globally exportable “Civilization” or capital-C “Culture” itself. That delimiting impulse found expression in what I call the “self-interrupting” features prominent in Romantic-era and Victorian narrative. This essay considers the challenges facing a planned sequel to Disorienting Fiction that would extend...

... of language? My argument is that the novels of this period chart a shift in the relationship between the two primal scenes outlined above, in which one eventually becomes the face of humanity while the other becomes the dead hand of inhumanity. In the end it is less the uncanny and easily allegorizable...

... death in volume 7. Just as the accident that shatters Tristram's post chaise allows him to discover the ancient pleasures of mule travel, so the disruption of narrative is designed to awaken readers to the polymorphous pleasures of older, slower kinds of reading now facing eclipse in the age...

...Aaron Matz Two late Victorian novels—George Gissing's The Nether World (1889) and Robert Louis Stevenson's The Ebb-Tide (1894)—share something peculiar: both prominently feature scenes of vitriol thrown at or exploding in a character's face. I argue that vitriol proved alluring to these novelists...

... the novel as a genre, but because it circulates as a highly institutionalized material artifact, which has thus far been presented and understood in questionable ways. Indeed, whether seen as a text or a book, or both, Diary obliges us to confront the central challenges facing literary criticism today. ©...

... in its effortless reproduction of detail—allowing every individual and every town to “represent itself”—it becomes instead an agent of cultural homogeni- zation, producing an ever more blurry, blank-faced, and standardized America. Burrows grounds his claim in a survey of nineteenth-century...

...: Stanford UP, 1986 . Craik , Jennifer . The Face of Fashion: Cultural Studies in Fashion . New York: Routledge, 1994 . Emery , Mary Lou . Jean Rhys at “World’s End”: Novels of Colonial and Sexual Exile . Austin: U of Texas P, 1990 . Felski , Rita . The Gender of Modernity...

... in an iconic role in the 1940 film Now, Voyager. The austerity of the woodblock mimes the planes of the face in the movie, a face whose complaint also appears in one of the chapters of Berlant’s book. In the film, the Bette Davis character at once protests her particular condition—she is oppressed...