WorldCat Identities

Princeton University Department of English

Works: 51 works in 61 publications in 1 language and 1,883 library holdings
Genres: Conference proceedings  Catalogs  Criticism, interpretation, etc  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 948 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 13 WorldCat member libraries worldwide

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

1 edition published in 1959 in English and held by 6 WorldCat member libraries worldwide

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

2 editions 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

Cultivation and catastrophe: Forms of nature in twentieth-century poetry of the black diaspora by Sonya Posmentier( )

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

The turbulence of the hurricane is a driving theoretical model in Cultivation and Catastrophe. I trace the metaphorical and metonymical relationship between the legacy of slavery's forced migrations and the violent displacements produced by destructive tropical storms. The works I address take their shape not only from destruction but from the oscillations between catastrophe and cultivation. These terms are metaphors for human experiences of growth and displacement, and descriptions of agricultural and natural processes that have had material implications for black communities and their environments. I focus on lyric poetry-as a discrete genre and as it intersects with other forms, from novels to the blues-because its structures allow writers to address varieties of natural time, whether cyclical, unpredictable, fragmentary, or subject to the forces of anthropocentrism. My project makes the case for poetry as the quintessential genre of diaspora, revealing a black poetics capacious enough to encompass the disjunctive transnational ecologies of diverse post-slavery landscapes
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

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

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

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

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
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

In Picturing Repose: Between the Acts of British Modernism, I attempt to retell the dominant and widely accepted story of modernism by considering the importance and prevalence of a "dream of rest" within the shock-effects of modernity. Exploring hitherto overlooked "spaces of time" between the major acts of the period before, during, and after the Second World War in Britain, I offer an alternative to Theodor Adorno's desperate description of modern life as a series of "empty, paralysed intervals" between "a timeless succession of shocks." Instead, I uncover the complex and often consolatory counter-pressures exerted by, and within, such intervals. Through an agile play with sightlines, framing, and visibility that resists a transfixing and anaesthetizing flatness, the works of Virginia Woolf, Elizabeth Bowen, Graham Greene, and artists associated with them offer not simply escapes from, but also resources for counterbalancing, a reality that is experienced as in some way overwhelming or exhausting. Connecting literary works with painting, photography, film, and statuary, I trace the mobility of late modernist aesthetic practices
The pornographer at the crossroads : sex, realism and experiment in the contemporary English novel by Jules F Hurtado( )

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
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
Material losses: urban ephemera in contemporary American literature and culture by Sarah L Wasserman( Book )

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

The project unfolds as a series of case studies in which pivotal episodes of twentieth and twenty-first-century American life are examined through those episodes' transient objects and the contemporary narratives that archive ephemera in order to reflect on the modes of longing they make manifest. Ultimately, Material Losses reveals how attention to the ephemeral shatters the illusion of permanence, thereby exposing modes of longing such as utopianism, revisionism, and nostalgia as untenable and supplanting them with an orientation to the present--in all its mutability and uncertainty
Critics and connoisseurs: Poet-critics and the administration of modernism by Evan Kindley( )

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

Critics and Connoisseurs is a reconsideration of the seminal figure of the modernist poet-critic. In a series of case studies of the poet-critics T.S. Eliot, Marianne Moore, Sterling A. Brown, and R.P. Blackmur, I examine the relation that pertains between critical and poetic writing with a particular emphasis on the process of self-explanation and justification. Modernist poet-critics, in my view, are distinct from the poet-critics of earlier literary eras to the degree that they align themselves with bureaucratic institutions, from the university and the little magazine to the philanthropic foundation and the state. This led to new and unprecedented interrelationships between literary and cultural criticism and bureaucratic administration and between the practice and explanation of literature. These are institutional inheritances that creative writers and humanist scholars still live with today
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

Demonstrating the expressive potential of boilerplate as well as its generative capacity to shape identity and agency, The Boilerplate of Everything illuminates the American imagination and the possibilities for individual expression, interpersonal connection and freedom
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
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

The Romantics are commonly considered ardently technophobic, especially when it came to the railways. Wordsworth in particular expressed apprehension about the corrosive encroachments modern transportation made on nature and culture, pitting it squarely against "old poetic feeling." In Romanticism and the Aesthetics of Modern Transport, I reconsider the fraught relationship Romantic writers had with transport modernity. Laying aside well-documented anxieties, I identify many of the ways in which innovations in Romantic-era transport--the air balloon, the postal coach, steam navigation and the railway--made new demands on human feeling that significantly contributed to literary forms and representations. Drawing on contemporary writings about these new vehicles, each of my chapters traces their shaping influence on central Romantic aesthetic and affective concepts, including sublimity, fancy, and nostalgia. I suggest that such categories are each responsible for some form affective displacement ("transport"), whether spatial, temporal, or fictional, that finds representation in at least one new mode of transport. My study thus addresses a neglected area of Romantic studies: the impact of emerging technologies on poetics and aesthetics. It uncovers a history of emotion within a history of technology
moreShow More Titles
fewerShow Fewer Titles
Audience Level
Audience Level
  Kids General Special  
Audience level: 0.37 (from 0.33 for On King Le ... to 0.90 for Acts of re ...)

Alternative Names

controlled identityPrinceton University

Princeton University. Dept. of English

Princeton University. English Department

English (35)