WorldCat Identities

Princeton University Department of English

Works: 63 works in 73 publications in 1 language and 1,914 library holdings
Genres: Conference papers and proceedings  Criticism, interpretation, etc  History  Catalogs  Bibliography 
Classifications: PR2819, 822.33
Publication Timeline
Most widely held works about Princeton University
Most widely held works by Princeton University
On King Lear by Lawrence Danson( Book )

6 editions published between 1981 and 1991 in English and held by 947 WorldCat member libraries worldwide

In their lectures on King Lear, the eight contributors to this volume fulfill Shakespeare's rigorous injunction to Speak what we feel"" about the playwright's amplest tragedy. Representing distinctive but complementary points of view, they cover theatrical history, verbal style, acting and actors, the playwright in his cultural context and in the light of enduring human concerns, and the Shakespearean view of history, tragedy, and psychology. Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previ
Literary uses of typology : from the late Middle Ages to the present by Princeton University( Book )

3 editions published in 1977 in English and held by 847 WorldCat member libraries worldwide

Announcement of graduate courses in the departments of English and Modern Languages by Princeton University( )

in English and held by 15 WorldCat member libraries worldwide

One hundred notable American books : an exhibition in the Princeton University Library, February 1-April 15, 1959( Book )

2 editions published in 1959 in English and held by 7 WorldCat member libraries worldwide

Writing native: The Aboriginal in Australian cultural nationalism 1927--1945 by Ellen Smith( Book )

1 edition published in 2012 in English and held by 3 WorldCat member libraries worldwide

Writing Native explores how Australian interwar nationalist representations of the Aboriginal engaged key political and aesthetic paradigms of the early twentieth century: communism, fascism and modernism. Critics often interpret nationalist engagements with Aboriginal culture as a recent phenomenon, tied to the dismantling of the white Australia policy and the rise of the liberal multicultural state. However, I uncover a longer and more politically varied history. Moving from the far left to the far right, I demonstrate the centrality of representations of the Aboriginal within attempts to imagine alternatives to liberal capitalist modernity in Australia from diverse political perspectives. In doing so, I offer a new way of way of thinking about the relationship between Australian cultural nationalism and modernist cultures in the first half of the twentieth century. While Australia has often been seen as provincial and disconnected from modernism, I attend to the disavowed global formations that informed Australia's construction of its own provinciality. I consider the transformations of literary form and political commitment that were wrought by the material conditions of the settler colony, demonstrating some of the ways that the key political ideas and aesthetic formations of the early twentieth century were remade in the context of the Australian settler colony. Composed of three detailed case studies, the dissertation examines communist writer Katharine Susannah Prichard's writings about Aboriginal labor on outback station properties, the publication of Xavier Herbert's classic protest novel Capricornia by the ultra-right wing Publicist group, and the disavowed modernist aesthetics of the Jindyworobak poetry movement
Acts of recovery : American Antebellum fictions by Kevin Michael Hicks( )

1 edition published in 2005 in English and held by 3 WorldCat member libraries worldwide

Framing pieces : designs of the gloss in Joyce, Woolf, and Pound by John Whittier-Ferguson( )

1 edition published in 1990 in English and held by 2 WorldCat member libraries worldwide

Framing Pieces takes as its starting point the premise that the frames of modern art - the notes, marginalia, critical essays, and longer prose pieces with which James Joyce, Virginia Woolf, and Ezra Pound surrounded their texts - perform complex aesthetic and socio-political work. John Whittier-Ferguson discusses a variety of texts and contexts, including Finnegan's Wake, A Room of One's Own, The Pargiters, Three Guineas, and Pound's prose and poetry from the 1930s. He argues that the study of twentieth-century apparatus is crucial to the comprehension of the text it brackets and of the self-conscious, self-promoting, and self-elucidating and obscuring nature of the moderns gathered in this book. Whittier-Ferguson introduces his inquiry with a discussion of the paradigmatic instance of the modernist apparatus, Eliot's notes to The Waste Land. From there, he leads his readers into an exploration of questions central to the study of modernism today. He considers the political inflections of Modernist texts and traces the uncertain domain of the avant-garde. Further, Whittier-Ferguson determines the means by which writers make claims to different forms of cultural authority and demonstrates the ways an author's designs are themselves ultimately framed by historical forces that resist all designing. Turning his readers' attention to the margins of canonical modernism, Whittier-Ferguson newly illuminates authors and texts central to an understanding of twentieth-century art and culture
Cultivation and catastrophe: Forms of nature in twentieth-century poetry of the black diaspora by Sonya Posmentier( Book )

1 edition published in 2012 in English and held by 2 WorldCat member libraries worldwide

Hurricane Katrina has made explicit the connection between racial and environmental experience, a connection taken up, for instance, in Spike Lee's documentary When the Levees Broke, the HBO series Treme, and Kara Walker's art volume After the Deluge. This connection did not begin to emerge in the twenty-first century but rather has a long tradition in black diasporic writing, a tradition that has remained surprisingly robust in the United States and the Caribbean for the last century in spite of urban migration, immigration, and the legacy of enforced agricultural labor. Whereas scholars of diaspora largely situate black modernity within an urban framework, Cultivation and Catastrophe remaps the geography of diasporic culture, inviting readers of African American and postcolonial literature to imagine environmental experience as a crucial force in shaping black modernism and poetic form
Prayer in the poetry of S.T.C. by Marion Schwartz( Book )

1 edition published in 1975 in English and held by 2 WorldCat member libraries worldwide

Looking at nothing : literary vacuity in the Long Eighteenth Century by Laura Jeanne Baudot( )

1 edition published in 2005 in English and held by 2 WorldCat member libraries worldwide

Picturing repose: Between the acts of British modernism by Jacqueline Shin( Book )

1 edition published in 2011 in English and held by 2 WorldCat member libraries worldwide

Unfolding in three "acts" that address unsettled vision, intensities of vision, and dynamic vision, Picturing Repose proposes that any account of modernism--and of late modernism in particular--needs to be wide enough to encompass something more consolatory than the trauma and despair that have largely come to define it. The dominant story about the period, which tells us of fragments shored against ruin, of a relentless barrage of shock and violence, and which largely denigrates what Greene calls "ways of escape," is correct in intertwining modernism and violence, yet the dream of rest that I consider challenges the heroic and anti-escapist underpinnings of much modernist writing and criticism. Woolf, Bowen, and Greene, I suggest, in drawing upon tactics of disorientation that refuse to let the reader settle, unexpectedly yoke together an aesthetics of shock and repose in ways that oppose habitual vision
Modernism and the narrative cultures of film by Jonathan Higbie Foltz( Book )

1 edition published in 2011 in English and held by 2 WorldCat member libraries worldwide

Modernism and the Narrative Cultures of Film treats writing about film as a literary genre unto itself, where authors spun self-reflexive fictions about the cinema that doubled as commentaries on their own novelistic experiments. For the early period of the twentieth century in which no definition of cinema was self-evident, each description of the medium assumed the speculative quality of a fiction. Reading literature by Virginia Woolf, H.D. and Henry Green alongside film reviews and treatises on aesthetics, I show that film offered a displaced figure for persistent questions about representation, psychology, and narrative omniscience. Cast alternately as a mechanized art of surfaces and as the ideal vehicle of subjectivity, as the epitome of aesthetic detachment and as the prime example of art's manifest entanglement in everyday life, film lent itself to rampant figuration, at once organizing and undoing the central antagonisms of modernist aesthetics
After taste : the aesthetics of romantic eating by Denise Gigante( )

1 edition published in 1999 in English and held by 2 WorldCat member libraries worldwide

Revolution's afterlife : the Paris commune in American cultural memory, 1871-1933 by J. Michelle Coghlan( Book )

1 edition published in 2011 in English and held by 1 WorldCat member library worldwide

Revolution's Afterlife traces the uncanny persistence of the Paris Commune--as specter and spectacle--in the U.S. literary and cultural imaginary from the Gilded Age into the Modernist period. Despite, or perhaps because of, the spectacularly transnational traumas of the twentieth century, scholars and theorists have most often regarded cultural memory as a phenomenon of distinctly national (or intra-national) proportions, an ongoing cultural process of remembering or forgetting a nation's own past triumphs or crises. In turn, both the "culture of memory" and the critical turn to memory studies itself have been figured as distinctive to--or symptomatic of--our own historical moment. By contrast, my project uncovers the thoroughly international contours of American cultural memory in the nineteenth century. Recovering the ways Americans represented and consumed the revolution of 1871 across a variety of literary forms and mass-cultural mediums, from illustrated weeklies and touring panoramas to periodical poetry and the novels of Henry James, I argue that the Commune's American afterlife fundamentally shaped anxieties about the New Woman and burgeoning imperial ambitions in the U.S. even as it transformed the terrain of Paris--and what it meant to be an American there--in American memory
Recovering global women's travel writings from the modern period: An inquiry into genre and narrative agency by Anitha Ramachandran( Book )

1 edition published in 2013 in English and held by 1 WorldCat member library worldwide

This dissertation focuses on the specific strategies by which authors of the travel writing genre seize narrative agency. Throughout its centuries-long history, the genre of travel writing has offered multiple generations of authors a means by which to convey observations of the real world within the context of a personally meaningful journey, while offering readers access to geographical, cultural, and psychological worlds otherwise inaccessible to them. An ambiguous medium that takes advantage of all the representational and authenticating mechanisms of nonfiction, while never fully abandoning the imaginative privileges of fiction, the genre of the travel narrative interrogates boundaries of form within literary knowledge
The Pathos of Modernism : henry james, gertrude stein, and virginia woolf (with a coda on J.M. coetzee) by Maayan Paula Dauber( Book )

1 edition published in 2015 in English and held by 1 WorldCat member library worldwide

Pathos, a term from ancient Greek rhetoric and dramaturgy, is an affect of distance, opacity, and ephemerality. It is an emotion that registers the inability of subjects to connect quite as intimately as they once did, asking instead that people be witnesses to each other's losses and sorrows. This is a turn away from the traditional novel and theories of sentiment by thinkers like Adam Smith and David Hume that it inherited. For while sympathy, the primary emotional register of the realist novel, asks people to share in each other's pain, pathos understands that such a request has become in the modernist period not only unanswerable but unethical
The boilerplate of everything and the ideal of agreement in American law and literature by Tal Kastner( Book )

1 edition published in 2013 in English and held by 1 WorldCat member library worldwide

The second half of the project confronts American literature corresponding with the development of contract. In Chapter Three, I identify the nineteenth-century notion and practice of contract as a significant, and previously overlooked, element of Herman Melville's "Bartleby, the Scrivener." I demonstrate how "Bartleby" anticipates the significance and limits of contract as an instrument of freedom in the American cultural consciousness during emancipation. Chapter Four reads Thomas Pynchon's The Crying of Lot 49, published contemporaneously with the first invocation of " boilerplate " by the Supreme Court in connection with contract. I argue that Pynchon's quintessentially postmodern work emphasizes the enduring seductiveness of the possibility of a "meeting of minds," reinscribing it in a qualified and dynamic form
The pornographer at the crossroads : sex, realism and experiment in the contemporary English novel by Jules F Hurtado( Book )

1 edition published in 2014 in English and held by 1 WorldCat member library worldwide

What if the novelist at the crossroads, that eponymous figure introduced by David Lodge in his 1971 essay, also doubled as a pornographer? "The Pornographer at the Crossroads" examines three controversial novels by three English novelists who did just that. With Crash (1973), Dead Babies (1975), and The Swimming-Pool Library (1988), writers J.G. Ballard, Martin Amis, and Alan Hollinghurst each set out to chart a new course that would cut a unique path through the metaphorical impasse between realism and experimentalism identified by Lodge and other critics of the postwar novel. It is these three writers who, during the 1970s and 1980s, began drawing inspiration from what Susan Sontag called "the pornographic imagination," and consequently cultivated a shocking new sexual aesthetic in English fiction. They made their mark on the literary landscape with novels that appropriated the conventions of pornographic narrative, exploring in greater detail than anyone had done before, as well as introducing as a subject worthy of serious artistic attention, sex in its many forms. But this was no idle impulse, no mere ploy to sell more books or gain notoriety for its own sake. Rather, their fictional attempts to map the flows of erotic desire through a rapidly changing Britain also signaled both a break from the increasingly abstract formal experimentation of the 1960s and a divergence from established yet outdated modes of realist narrative still dominant in the postwar period. Their choice of subject matter and means of representing it, in other words, served the collective purpose of reinvigorating a moribund genre by breaking down the creative barriers which had been holding back innovation in the English novel since the end of modernism and the Second World War. My study argues, therefore, that Crash, Dead Babies, and The Swimming-Pool Library together represent a revolutionary experiment in novelistic content, and the arrival of a very different kind of realism. This bold and explicit "pornographic realism," as I call it, takes sex and pornography as its main focus while also using this particular focus to provide fresh perspective on and insight into relevant issues within contemporary culture, issues such as the dehumanizing effects of technology and mass media, the disintegration of traditional moral frameworks and social networks, shifting conceptions of personal autonomy and agency, and the formation of individual and collective identity. As I variously demonstrate in each of my chapters, it had been a direct engagement with both the lowbrow artistic subgenre of pornography and the subject of sex (especially sex defined as "deviant" or "transgressive") that ultimately afforded Ballard, Amis, and Hollinghurst the opportunity to deviate from and expand the very boundaries and traditions of English fiction itself and, in turn, update the novel form to better reflect the complex and evolving realities of the contemporary period. The result is a collection of unabashedly pornographic novels which form the core of what I propose is a much ignored literary avant-garde, one whose daring and original achievements gave new direction to that mid-century novelist stalled at the crossroads and, in the end, made possible the novel in England as we know it today
Romanticism and the aesthetics of modern transport by Iván Ortiz C.( Book )

1 edition published in 2013 in English and held by 1 WorldCat member library worldwide

I situate my argument within a long history of philosophy and poetry in which transport features as a trope for the management or willful eruption of emotion, one that stretches from Plato's Phaedrus to Freud's writings on trauma. I read the Romantic vehicle as a modern trope that accounts for distinctly modern aesthetic experiences. If poets like Thomas Hood identified the air balloon as "fancy's car," a perfect image for a vagrant or dispersed consciousness, J.M.W. Turner and Percy Shelley found in the steamboat an analogue for the counterforce of the imagination during sublime experience. In similar fashion, the supplanting of the mail-coach service by the mechanical railway prompted De Quincey to remark that steam power "disconnected man's heart from" from what moves him. Seizing on the superannuated coach as rhetorical figure to advance his project of impassioned prose, he recruited structures of feeling native to mail-coach transport to generate both nostalgia and trauma in his readers. This study thus proposes that despite their feelings, the Romantics were indebted to modern transport for some of their most essential feelings
Critics and connoisseurs: Poet-critics and the administration of modernism by Evan Kindley( Book )

1 edition published in 2012 in English and held by 1 WorldCat member library worldwide

In my introduction, I consider the importance of the poet-critic to modernism in the light of the figure's long history, ultimately claiming that the originality of the modernist poet-critic is to be found in their relationship to administration and to bureaucratic institutions. My chapter on T.S. Eliot reconstructs the case made for the poet as critic in the late 1910s and early 1920s and points to its basis in an "artistic critique" of society that Eliot inherits from nineteenth-century Continental poet-critics like Baudelaire. The second chapter deals with Marianne Moore's reluctance to participate in a culture of critical agonism and her recourse to a non-agonistic administrative role within the established modernist institution of the little magazine (specifically, as managing editor of The Dial). The third chapter, on Sterling A. Brown, brings both race and the state into the discussion by examining Brown's work as "Editor of Negro Affairs" for the Federal Writers' Project in the 1930s; this is followed by a discussion of an ambitious philanthropic project undertaken by the poet-critic R.P. Blackmur in the immediate postwar period to support little magazines. Finally, in an epilogue, I briefly consider the importance of the poet-critic to the evolution of the postwar university, with reference to the disciplines of creative writing and literary study
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Alternative Names

controlled identityPrinceton University

Princeton University. Dept. of English

Princeton University. English Department

Princeton University. English Dept

English (35)