...Mitchum Huehls Contemporary Drift: Genre, Historicism, and the Problem of the Present , by Martin Theodore . New York : Columbia University Press , 2017 . 250 pages. Minor Characters Have Their Day: Genre and the Contemporary Literary Marketplace , by Rosen Jeremy . New...

...Regina Martin Copyright © Hofstra University 2012 Regina Martin The Drama of Gender and Genre in Edith Wharton’s Realism Regina Martin Edith Wharton’s depiction of the socially ambitious Undine Spragg’s peregrinations through New York and French “society” suggests...

...Nancy Lee Chalfa Ruyter Modernism’s Mythic Pose: Gender, Genre, Solo Performance , by Preston Carrie J. , Oxford University Press , 2011 . 357 pages. Copyright © Hofstra University 2012 Nancy Lee Chalfa Ruyter Modernism’s Mythic Pose: Gender, Genre, Solo Performance...

...Frances Dickey Poetry and Its Others: News, Prayer, Song, and the Dialogue of Genres , by Ramazani Jahan , University of Chicago Press , 2013 . 304 pages. Copyright © Hofstra University 2014 Review Poetry and Its Others: News, Prayer, Song, and the Dialogue of Genres...

...Erin Kay Penner In The Wave s, the 1931 novel she called a “playpoem,” Virginia Woolf enacts a drama of modern elegy, using multiple elegists and elegiac subjects to challenge the terms by which speakers and subjects worthy of poetic mourning are defined. In doing so, Woolf frees the genre from...

...Mark David Kaufman This article uses the genre of speculative historical fiction as a point of entry into Virginia Woolf’s politics. Two spy novels, Ellen Hawkes and Peter Manso’s The Shadow of the Moth (1983) and Stephanie Barron’s The White Garden (2009), present scenarios in which Woolf becomes...

... purported to repudiate them. This book declines the usual, simplistic periodization that informs so much work on Modernist literature, instead following trajectories of form and traditions of genre. Of course Dickey is not the first to proceed this way. There has been since the Second World War...

... how steadily and with what great success the genre of hard-boiled crime fiction has car- ried on the work of nineteenth-century sentimentalism. There has been 575Twentieth-Century Literature 56.4 Winter 2010 575 Deborah Nelson some noteworthy attention to male sentimentality...

...—the dispersal and dis- appearance of Thomas Pynchon’s nominal protagonist Tyrone Slothrop in Gravity’s Rainbow (1973), for instance—as paralleling the putative de- personalization of organization men. The postmodern incorporation of genre elements, I further suggest, construes genre as a form...

... and meaning o f genre classification, are here opened up in new ways. In the last quarter o f the last century, reader-response theorists sought to describe the dynamic o f the reading process from the point o f view of readers whose understanding o f a text is built out o f personal experience...

... the ingrained notion that the self is substantially discrete, permanent, and graspable? Journeys of Transformation is the first scholarly book to identify and examine a major literary genre that has evolved during the past century: Western travel writing into Buddhist Asia. The book’s first scholarly...

... between the transitional but still self-consciously “literary” appropriation o f popular genres in the w ork o f authors like Barth and Pynchon (and still relevant for younger writers like Colson W hitehead and Michael Cunningham) and a newer tendency to confer literary...

... considerable contributions to genre fiction and sought to legitimize this work and, along with it, the science fiction genre of which he has been named one of the “fathers.” On the contrary, more than many others, Cole has offered a portrait of Wells that at least acknowledges many of his shortcomings...

... of the observer- hero narrative genre. In its engagement with Philip Roth’s The Human Stain (2000), Paul Auster’s Leviathan (1992), Jeffrey Eugenides’s The Virgin Suicides (1993), and E. L. Doctorow’s The Waterworks (1994), Kelly’s study suggests that works operating within the observer-hero genre...

... and, by extension, to link Woolf’s presentation of painting in her novels, particularly To the Lighthouse, to Post-Impressionism. But almost none have noted the genre of the painting and considered the role that still life might play in Woolf’s relationship to the visual arts.4 In fact, there exist only...

... for a massive body of work that consists not just of realist fiction but ranges across a challenging variety of styles and genres. Particularly from the early 1960s through the early 1980s, she exhibited a restlessness about critical notions of literary category and authorial persona, and while more...

... is not: “popular fiction is the opposite of Literature.” It cannot therefore be judged by the same criteria. Popular fiction can be defined by its relation to genre and the whole industrial apparatus of production, distribution, and consumption, which Gelder calls “processing.” But given the importance...

...: Fantasy, Space, and Imperialism in Rebecca West,” is exemplary in more ways than one. It makes a wide-ranging and richly historicized claim on behalf of an undertheorized genre: fantasy. It does so by redrawing the architectural as well as geopolitical maps of literature, putting London and Belgrade...

... of Diary of a Bad Year, the speech act involved takes the form of a miscellany of apparently, at least at first, unrelated parts, and it becomes “genuinely undecidable,” as Paul Patton (“Coetzee’s Opinions” 3) puts it, what the genre of the text is: whether it is a novel or a book of opinions...

...). As the presence of both Gandalf and Sherlock on the cover of As If communicates, however, Saler does not restrict fantasy to the specific genre of fantasy. That genre is popularly devoted to magical lands where witches and wizards have startling powers; social life is structured by feudal politics...