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Literary Neurophysiology - Memory, Race, Sex, and Representation in U.S. Writing, 1860-1914 (Hardcover)
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Literary Neurophysiology - Memory, Race, Sex, and Representation in U.S. Writing, 1860-1914 (Hardcover)
Series: Oxford Studies in American Literary History
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Writing about the brain and the nervous system more than a century
ago, what were U.S. authors doing? Literary Neurophysiology:
Memory, Race, Sex, and Representation in U.S. Writing, 1860-1914
examines their use of literature to experiment with the new
materialist psychology, a science that was challenging their
capacity to represent reality and forging new understandings of
race and sexuality. Late-nineteenth and eartly-twentieth century
authors sometimes emulated scientific epistemology, allowing their
art and conceptions of creativity to be reshaped by it, but more
often they imaginatively investigated neurophysiological theories,
challenging and rewriting scientific explanations of human identity
and behavior. By enfolding physiological experimentation into
literary inquiries that could nonreductively account for
psychological and social complexities beyond the reach of the
laboratory, they used literature as a cognitive medium. Mark Twain,
W. D. Howells, and Gertrude Stein come together as they probe the
effects on mimesis and creativity of reflex-based automatisms and
unconscious meaning-making. Oliver Wendell Holmes explores
conceptions of racial nerve force elaborated in population
statistics and biopolitics, while W. E. B. Du Bois and Pauline
Hopkins contest notions of racial energy used to predict the
extinction of African Americans. Holmes explores new definitions of
"sexual inversion" as, in divergent ways, Whitman and John
Addington Symonds evaluate relations among nerve force, human
fecundity, and the supposed grave of nonreproductive sex. Carefully
tracing entanglements and conflicts between literary culture and
mental science of this period, Knoper reveals unexpected
connections among these authors and fresh insights into the science
they confronted. Considering their writing as cognitive practice,
he provides a new understanding of literary realism and of the
emergent distinction between literary and scientific knowledge.
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