Search

By questions of "canon," we mean questions of what is fictionally true of some character, story, or world. What is canon is treated as authoritative or official, usually by creators and fans alike. But disputes about canon have arisen as storytellers and publishers have sought to capitalize on the popularity of their characters, churning out more and more stories to meet public demand, and at the same time engaging with growing fan bases. As audiences have become more involved, and as fictional worlds have become messier, the authoritative nature of canon—and who authorizes it—has begun to erode. In this paper, we characterize canon as an article in the evolving relation between authors and audiences. More specifically, we characterize canon as an intangible good, subject to a form of cultural negotiation, resting on a power relation between producers and consumers of fictions. In Part I, we consider the author's evolving role, and the rights of the creator to a story, character, or world. In Part II, we discuss the emerging activities of fans, particularly as they weigh on issues of canon. In Part III, we discuss canon as being subject to cultural negotiation, highlighting the importance of power dynamics in this negotiation. [ABSTRACT FROM AUTHOR]

It ties together Greek Islands crime fiction, Sardinian crime fiction, Cypriot crime fiction, Maghrebi crime fiction and Turkish crime fiction, to mention but a few. However, very few scholarly works can be found on other types of French regional crime fiction beyond Jean-Philippe Gury's work on crime fiction from Brittany, and our work on Corsican crime fiction. For example, in I Le Sentier lumineux i , Andria Costa develops a I Série Noire i -type crime narrative without any of the expected elements of crime fiction, where, furthermore, the Corsican language takes centre stage.[13] Secondly, in terms of language, Corsican crime fiction is intrinsically multilingual, as it often alternates between French, Corsican and I francorsu i . [Extracted from the article]

Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC 5 Berry Wendell. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC 4 Berry Wendell. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC 30 Robinson David M. " Wilderness and the Agrarian Principle: Gary Snyder, Wendell Berry, and the Ethical Definition of the Wild." Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC 33 Sims Christopher A. "The Dangers of Individualism and the Human Relationship to Technology in Philip K. Dick's Do Androids Dream of Electric Sheep?". [Extracted from the article]

This essay situates the academic enquiry into the 'popular' idea of the nation within the shifting disciplinary contours of English in India. Using the iconic Bharatbala music video 'Vande Mataram' (1998) as a case study, it demonstrates how methods of analysis derived from literary studies may be used to engage with the mediated nature of contemporary culture; the classroom experience of 'reading' together a popular cultural text reflects as well as instantiates the expansion of 'English' at the level of both content and form. The collaborative pedagogic exercise of decoding the 'signs' that constitute the audio-visual text through familiar literary terms such as imagery, symbolism, setting and character reveals how the cultural discourse of nationalism – in terms of its historical legacy as well as its current political resonance – can be 'read' contextually using disciplinary methods of 'English'. I argue that the 'literary' can no longer be defined only in terms of the nature of the text one brings into the classroom – it is a mode of analysis that can be extended to examining cultural texts in other media formats too, especially if the enterprise of 'doing' English in a formal, academic set-up is to be anything more than a reiteration of the value of Anglo-American canonical literature. If the English canon has traditionally been a means of teaching students how to ask fundamental questions about cultural representation, the same aim is now achieved also through the use of texts from other, more familiar and local contexts and media. [ABSTRACT FROM AUTHOR]

In the absence of such an assessment, Schwartz produces a forceful critique of nationalist historiography, but his own conclusions about the periodization of Persian poetry and canons must remain more uncertain. Several generations of new narratives about the transregional "cosmopoli" or "scriptworlds" of premodern prestige languages have sent scholars back to the archives to begin reading the vast corpuses produced in peripheral regions. In Persian literary studies, the process of denationalization began in earnest in the 1990s, as scholars in Iran revisited and reconsidered early modern Indo-Persian poetry that had long been dismissed as decadent by Iranians. [Extracted from the article]

The author examines the study of philosopher Johann Gottfried Herder's aesthetics by author Rachel Zuckert. He explores the difficulty in explaining the normative power of canons in every cultural practice that wields orientational force, the claim that Herder is a naturalist in aesthetics, the comparison of counter-canonical streams of culture to the tale of Sleeping Beauty, and the representation of anti-Hegelian streams in aesthetic theory by the commitment to the equal validity of antithetical tastes.

Current church debates and queer scholarship unearth Sodom as a site for contesting the relationships between sexuality, religion, queerness, and destruction. In John Rechy's novels City of Night and Numbers , the Sodom story provides an archetype for the books' hustler narrators, whose insatiable desires draw them repeatedly back into 'the city of night of the soul', and ultimately, oblivion. Drawing on Heather Love and Catherine Keller, I read Rechy as adapting the Sodom story rather than rejecting it in favour of progress or liberation, as do many queer biblical interpreters and theologians. Rechy's hustlers display a sodomitic subjectivity in their refusal to be whole, which has made his relation to gay/queer and Chicanx literary canons uneasy. Precisely in his 'backwardness', Rechy illustrates how theological categories continue to shape gay/queer identities in the 20th century and today. [ABSTRACT FROM AUTHOR]

After the canon and culture wars of the 1980s and 1990s, some critics hazarded the possibility that American literature might fragment and disappear as a discipline. But 20 years later, as these book proposals suggest, we've abandoned totalizing national theories in favor of a more hemispheric study of how literatures variously treat sociological, political, ideological, historical, and environmental problems. We've entirely abandoned the nearly allwhite canon that characterized the study of American literature through the early 1980s; our literary archives are far more heterogeneous. While we've abandoned grand theories, there is much greater emphasis on the role of our own critical agency, and an impressive optimism about literature as an actual agent of power and its ability to participate in both indexing and making better worlds. [ABSTRACT FROM AUTHOR]

An introduction to articles in the issue is presented on topics including decolonial approaches to literature against the study of the literature of historical periods remote from our own, intersection of specific institutional contexts and specific intellectual trajectories, and legacies of settler colonialism on literary representation and canon formation.

The author explores author Thomas Kyd's canon proposed by Brian Vickers, namely "The Spanish Tragedy," "Soliman and Perseda," "King Leir," "Arden of Faversham," "Fair Em" and "Cornelia." Topics discussed include the use of MacDonald P. Jackson's technique to examine scholarly assumptions regarding the distribution of unique formal trigrams in texts, and the challenge of distinguishing influence from authorship in attribution studies.