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The American short story has always been characterized by exciting
aesthetic innovations and an immense range of topics. This handbook
offers students and researchers a comprehensive introduction to the
multifaceted genre with a special focus on recent developments due
to the rise of new media. Part I provides systematic overviews of
significant contexts ranging from historical-political backgrounds,
short story theories developed by writers, print and digital
culture, to current theoretical approaches and canon formation.
Part II consists of 35 paired readings of representative short
stories by eminent authors, charting major steps in the evolution
of the American short story from its beginnings as an art form in
the early nineteenth century up to the digital age. The handbook
examines historically, methodologically, and theoretically the
coming together of the enduring narrative practice of compression
and concision in American literature. It offers fresh and original
readings relevant to studying the American short story and shows
how the genre performs American culture.
This study seeks to fill a major gap in the fields of
Nineteenth-Century American and British Studies by examining how
nineteenth-century intellectuals shaped and re-shaped aesthetic
traditions across the Atlantic Ocean. Special attention is paid to
a group of salient cultural concepts, such as artist-as-hero,
imagination, the picturesque, reform, simultaneity, and seriality.
Although embedded in a particular aesthetic tradition, these
concepts travel from one culture to another and are transformed
along their transatlantic journeys. The purpose of this book is to
explore the roles of these 'traveling concepts' within the realm of
transatlantic cultures and to trace their at times surprising paths
within ever-widening transnational intellectual networks.
The study develops a new theoretical approach to the relationship
between two media (jazz music and writing) and demonstrates its
explanatory power with the help of a rich sampling of jazz poems.
Currently, the mimetic approach to intermediality (e.g., the notion
that jazz poetry imitates jazz music) still dominates the field of
criticism. This book challenges that interpretive approach. It
demonstrates that a mimetic view of jazz poetry hinders readers
from perceiving the metaphoric ways poets rendered music in
writing. Drawing on and extending recent cognitive metaphor
theories (Lakoff, Johnson, Turner, Fauconnier), it promotes a
conceptual metaphor model that allows readers to discover the
innovative ways poets translate "melody," "dynamics," "tempo,"
"mood," and other musical elements into literal and figurative
expressions that invite readers to imagine the music in their
mind's eye (i.e., their mind's ear).
Protestants on Screen explores the Protestant contributions to
American and European film from the silent era to the present day.
The authors analyze how Protestant filmmakers, beliefs, theology,
symbols, sensibilities, and cultural patterns have shaped the
history of film. Challenging the stereotype of Protestants as
world-denouncing-and-defying puritans and iconoclasts who stood in
the way of film's maturation as an art, the authors contend that
Protestants were among the key catalysts in the origins and
development of film, bringing an identifiably Protestant aesthetic
to the medium. The essays in this volume track key Protestant
themes like faith and doubt, sin and depravity, biblical
literalism, personal conversion and personal redemption, holiness
and sanctification, moralism and pietism, Providence and
secularism, apocalypticism, righteousness and justice, religion and
race, the priesthood of all believers and its
offshoots-democratization and individualism. Protestants, the
essays in this volume demonstrate, helped birth and shape the film
industry and harness the power of motion pictures for spiritual
instruction, edification, and cultural influence.
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