Search Results for audience
1-20 of 254 Search Results for
Twentieth-Century Literature (1 March 2018) 64 (1): 1–24.
Published: 01 March 2018
... editorial discourse such as advertising and marketing surveys, this essay argues that the masochistic fantasies of self-shattering featured in Grove’s publications allowed its imagined audience of professional-managerial class radicals to appear to transcend their economic positions. In the pages of Grove...
Twentieth-Century Literature (1 December 2002) 48 (4): 363–392.
Published: 01 December 2002
... impulses of the longing for cultural centrality—“as large and miscellaneous an audience as possible” (Eliot, Prose 94)1—and the desire to write a radical language that stretches or subverts the boundaries of signification and whose inaccessibility to most readers can be claimed as a mark of its...
Twentieth-Century Literature (1 December 2005) 51 (4): 504–511.
Published: 01 December 2005
.... 264 pages Jayme Stayer T. S. Eliot had an audience problem. Which is one way of saying that sometimes T. S. Eliot thought he was making sense when his audiences thought otherwise. In an anecdote told by A. N. Wilson in the Spectator, Eliot was invited to Windsor Castle during the war...
Twentieth-Century Literature (1 June 2012) 58 (2): 238–266.
Published: 01 June 2012
... representation and audience address. Historically, the power of voice has been a theme central to African American literature and literary criticism. Writing out of a history of enforced silence, African American authors have represented voice as an important source of personal and political agency...
Twentieth-Century Literature (1 June 2009) 55 (2): 209–231.
Published: 01 June 2009
... this novel, I would like to argue that to understand the function of pornography in The Secret Agent, we must turn to one of Conrad’s key concerns: how art has its effect on an audience. When we do this, pornography emerges as a more politically subversive element: it partakes in the novel’s...
Twentieth-Century Literature (1 March 2019) 65 (1-2): 167–186.
Published: 01 March 2019
... young Bosnian immigrant Alex, who works as a dishwasher and has difficulties mapping his path in life. The image of the shoe reappears when the audience finds out that the numerous pairs Vlad’s father brought him back from his various business trips hid microfilms with KGB secrets that he planned on...
Twentieth-Century Literature (1 June 2004) 50 (2): 167–191.
Published: 01 June 2004
... at the same time on members of the audience who are themselves actors, “blank-faced in stagelight.” Merrill has just cited Tonio’s warning to the audience in Pagliacci “that a powerful story is about to be enacted, and not to mistake its interpreters for bloodless puppets.” Merrill stages his...
Twentieth-Century Literature (1 March 2013) 59 (1): 164–173.
Published: 01 March 2013
...- books so squarely grounded in second-wave commitments? Anthologists are wedded not just to academic audiences but to popular ones. “Women’s poetry anthologies are crossover texts that blur traditional boundaries between literary and popular culture,” Bryant astutely observes, “bridging academic...
Twentieth-Century Literature (1 March 2015) 61 (1): 118–127.
Published: 01 March 2015
...Julia Daniel Ritual and the Idea of Europe in Interwar Writing by Query Patrick R. , Farnham : Ashgate Press , 2012 . 257 pages. © 2015 by Hofstra University 2015 In September 2011, José Tomás appeared before a packed audience for the final fight in Barcelona’s iconic bullring. After...
Twentieth-Century Literature (1 September 2012) 58 (3): 524–531.
Published: 01 September 2012
... cartoon, “Sad Movie,” which shows the upturned, tearful faces of the members of an audience of a packed movie theater whose screen is hidden from us. In the second row sits one of Addams’s ghoulish creations, instantly recognizable today as Uncle Fester, with his bald head, blank eyes, and fangs...
Twentieth-Century Literature (1 September 2000) 46 (3): 269–284.
Published: 01 September 2000
... they would not need to be told he is talking about his own father. Most likely the audience consists of outsiders unfamiliar with the husbandry skills that were common prior to the use of farm tractors. Were they locals they would be unimpressed by the initial flourish of rural argot: “shafts...
Twentieth-Century Literature (1 June 2010) 56 (2): 254–259.
Published: 01 June 2010
.... In the end it is the virtue of The Revolutionary Roots of Modern Yid- dish that it prompts the interest of literary scholars and cultural historians working in fields other than Yiddish. That interest, of course, makes the question of the book’s audience a difficult one, and Trachtenberg to my...
Twentieth-Century Literature (1 December 2012) 58 (4): 606–639.
Published: 01 December 2012
..., so “Mending Wall” is yoked into post-War politics at Harvard. This process suggests how much Frost treated readings as opportunities to politicize his poems in response to particular audiences. At Harvard, Frost admits of the newfound politics of the poem as he relates what he told Kruschev...
Twentieth-Century Literature (1 March 2008) 54 (1): 105–114.
Published: 01 March 2008
... Shaw’s dramatic endeavors and gives particular attention to the problems Shaw faced when he attempted to dramatize the life of a prostitute turned madam. Mrs. Warren’s Profession was “precensored” in England by the Examiner of Plays and only reached a limited audience in print form as part...
Twentieth-Century Literature (1 June 2014) 60 (2): 259–266.
Published: 01 June 2014
... show’s example, Blyn focuses on the tendency to sustain “epis- temic desire”—that is, the freak show’s need to keep audiences enthralled by perpetuating doubt, curiosity, and a sense of indeterminacy. That these strategies were developed for commercial purposes is not incidental to Blyn’s project...
Twentieth-Century Literature (1 March 2019) 65 (1-2): 43–70.
Published: 01 March 2019
... literary diaspora that produces work in multiple languages, which circulates widely and thus raises questions about the way the geography of the former Eastern Bloc is represented culturally and historically, or imagined fictionally for the benefit of global audiences. Penkov, Vapnyar, and Hemon all create...
Twentieth-Century Literature (1 June 2004) 50 (2): v–viii.
Published: 01 June 2004
... prevailing meanings of hybridity in interesting ways and is potentially illuminating for a wide audience both within and beyond literary studies. Much has been made in cultural and literary studies of hybridity, as the author notes. But the hybrid ity widely touted or angrily attacked is typically...
Twentieth-Century Literature (1 December 2007) 53 (4): 518–529.
Published: 01 December 2007
... of modernism, had once inspired cries of incomprehension from 520 Review their first audiences and had since come to seem anything but difficult. But the modernists often made a virtue of their “obscurity” and declared, in effect, that they were decidedly not in the business of providing...
Twentieth-Century Literature (1 September 2007) 53 (3): 394–405.
Published: 01 September 2007
... her audience, assuring us that it’s her own decision— not her m other’s silver dagger— that backs her decision. N ote that the audience o f the song can make an additional metarep resentation about the content based on its ballad genre. The last stanza in this ballad provides information...
Twentieth-Century Literature (1 December 2008) 54 (4): 514–525.
Published: 01 December 2008
... Chodat Walter Benn Michaels was once described as having “dual audiences” (Jeffrey Williams 125), shifting in his work between theoretical essays such as “Against Theory” (1982) and Americanist books such as The Gold Stan dard and the Logic of Naturalism (1987) and Our America (1995). In...