Bøger udgivet af Bucknell University Press

The author confronts the idea of responsibility by mapping the work of J. L. Austin onto the criminal law. Doing so entails considering the extent to which the language of criminal law can be reconciled with ordinary language, a project that entails considering whether the language of criminal law is ordinary language.

Engendering Legitimacy is a study of the intersecting of law, land, property, and gender in the prose fiction of Mary Davys, Daniel Defoe, Eliza Haywood, and Jonathan Swift. The law of property in early modern England established relations for men and women that artificially constructed, altered, and ended their connections with the material world, and the land they lived upon. The cultural role of land and law in a changing economy embracing new forms of property became a founding preoccupation around which grew the imaginative prose fiction that would develop into the English novel. Susan Glover contends that questions of political and legal legitimacy raised by the Glorious Revolution of 1688-89 were transposed to the domestic and literary spheres of the early 1700s. Well researched and compellingly argued, Engendering Legitimacy examines the ways by which experimentation in prose fiction begins to re-vision the period's enmeshing of law, land, property, and political power, as the four writers imagine new grounds for authorial and political legitimacy.

Two predominant critical assumptions about Samuel Richardson--that he is a feminist and that his novels aim to exert a straightforward didactic influence on readers--are challenged by this comparative study of female exemplarity in Clarissa, Sir Charles Grandison, Evelina, and Les Liaisons dangereuses in a theoretically and historically informed context, in order to investigate the ideologically charged terrain of models and modeling in eighteenth-century epistolary fiction. The female subjectivity transacted by Clarissa's text-reader relation is imagined as a site not of ethical transformation but of crippling shame and self-reproach. Koehler's readings produce a trajectory in which Burney and Laclos, writing within thirty-five years of Clarissa's publication, reject Richardson's use of female exemplarity as a weapon.

This book re-examines the literary significance of poet and translator William Cowper (1731-1800).

Emotion as Meaning offers a new model of the mind based upon a new understanding of emotion. It resolves the debate between the imagists and the propositionalists by tracing the translation of language into vicarious experience, showing that the mind represents the imagined world by means of not only image and idea, but emotion.

In this study of Moore and the visual arts, Joyce is interested in the bifurcation between modernism and the avant-garde. Instead of viewing MooreOs poetry as typically and provincially American, the author places her in the international and radical art movements of the early twentieth century. She also shows how art productions serve to break down and re-create cultural practice, proving that culture is a mutable organism, reluctant to change. Illustrated.

Tobias Smollett (1721-71) is best known today as a novelist. In the eighteenth-century, he was principally regarded as a historian and critic. In this book, Richard J. Jones explores the diversity of Smollett's journalistic and literary writings. In doing so, he establishes new connections between Smollett's work and contemporary writers of the Scottish Enlightenment. Smollett is presented, much like the philosopher David Hume, as a Scot in London, writing history and critical essays. The book takes as its focal point Smollett's visit to Nice, between 1763 and 1765, and the account he wrote of it in Travels through France and Italy (1766). This account is usually seen as a 'travel narrative'. However, Jones argues that it should more properly be read as 'pocket encyclopedia' in the tradition of Voltaire. Jones offers a productive juxtaposition of authors, texts, and contexts for readers interested in questions of genre, Enlightenment thought, and the cosmopolitan nature of eighteenth-century culture.

Modernity's Metonyms considers the representation of temporal frameworks in stories by the nineteenth-century Spanish authors, Leopoldo Alas and Antonio Ros de Olano. Adopting a metonymic approach_exploring the reiteration of specific associations across a range of disciplines, from literature, philosophy, historiography, to natural history_Modernity's Metonyms moves beyond the consideration of nineteenth-century Spanish literary modernity in terms of the problem of representation. Through an exploration of the associations prompted by three themes, the railway, food, and suicide, it argues that literary modernity can be considered as the expression of the perception that a linear model of time bringing together the past, the present and the future, was fragmenting into a proliferation of simultaneous moments. It draws French, German, American and British writers into discussion of stories by the canonical author Alas, and Ros de Olano, an author who is receiving increasing attention from scholars of nineteenth-century Spanish literature. Recent scholarship in the field of nineteenth-century Spanish literature and culture has challenged the thesis of 'retraso,' the thesis that Spain lagged far behind its European neighbors. Building on this scholarship, this monograph incorporates shorter works of experimental prose fiction into discussions of nineteenth-century literary modernity in Spain. It further expands the field by combining analysis of the writing of the canonical author, Leopoldo Alas with stories by Antonio Ros de Olano, whose work has been receiving increasing attention from scholars in the field. Rather than thinking of these works in terms of the ways they conform to established models provided by either contemporaneous French and British works, or by fin de siglo and early twentieth-century Spanish literature, Modernity's Metonyms works inductively. It builds outwards from the seven stories studies, identifying patterns of associations shared with writing by figures as diverse as Ludwig Feuerbach, Thomas Carlyle, Emilio Castelar, Briere de Boismont, P.J. Cabanis, or Jean-Anselme Brillat-Savarin. The seven stories discussed are Alas's 'Do-a Berta,' 'Zurita,' 'Cuervo' and 'Cuento futuro,' and Ros de Olano's 'Jornadas de retorno escritas por un aparecido,' 'Maese Cornelio TOcito,' and 'La noche de mOscaras.'

This book is a study of signs in American literature and culture. It is mainly about electric signs, but also deals with non-electric signs and related phenomena, such as movie sets. The 'sign' is considered in both the architectural and semiotic senses of the word. It is argued that the drama and spectacle of the electric sign called attention to the semiotic implications of the 'sign.' In fiction, poetry, and commentary, the electric SIGN became a 'sign' of manifold meanings that this book explores: a sign of the city, a sign of America, a sign of the twentieth century, a sign of modernism, a sign of postmodernism, a sign of noir, a sign of naturalism, a sign of the beats, a sign of signs systems (the Bible to Broadway), a sign of tropes (the Great White way to the neon jungle), a sign of the writers themselves, a sign of the sign itself. If Moby Dick is the great American novel, then it is also the great American novel about signs, as the prologue maintains. The chapters that follow demonstrate that the sign is indeed a 'sign' of American literature. After the electric sign was invented, it influenced Stephen Crane to become a nightlight impressionist and Theodore Dreiser to make the 'fire sign' his metaphor for the city. An actual Broadway sign might have inspired F. Scott Fitzgerald's The Great Gatsby. In Manhattan Transfer and U.S.A., John Dos Passos portrayed America as just a spectacular sign. William Faulkner's electric signs are full of sound and fury signifying modernity. The Last Tycoon was a sign of Fitzgerald's decline. The signs of noir can be traced to Poe's 'The Man of the Crowd.' Absence flickers in the neons of Raymond Chandler's Los Angeles. The death of God haunts the neon wilderness of Nelson Algren. Hitler's 'empire' was an non-intentional parody of Nathanael West's California. The beats reinvented Times Square in their own image. Jack Kerouac's search for the center of Saturday night was a quest for transcendence. This book will interest readers who want to learn more about the city, the history of advertising, electric lighting, nightlife, architecture, and semiotics. In contrast to other cultural studies, however, Signs of the Signs is primarily a work of literary criticism. Lovers of literary light will appreciate this book the most.

Transatlantic Mysteries presents a comparative study that brings together authors Paco Ignacio Taibo II and Manuel Vzquez Montalbn from two specific political contexts: post-1968 Mexico and post-Franco Spain who both work in one specific genrenoir detective fiction. In this so called age of globalization, Spain and Mexico have witnessed an explosion in the production of noir detective fiction which these authors choose purposefully in order to infiltrate the market with formulaic popular literature while simultaneously critiquing the effects of the neoliberal strategies embraced by their countries. By locating themselves at the crossroads where literature meets the market, they not only underscore the effects of capital on literary and cultural production but also explore the possibility for their writing to resist the influences of capital and question the role of an intellectual in an era of globalization. At the core of their writing Taibo and Vzquez Montalbn examine the revolutionary possibilities of literature and popular culture to offer a new kind of Marxist project that revitalizes the Left by redefining the role of socially engaged literature in a globalized landscape.

Sub-Versions of the Archive: Manuel Puig's and Severo Sarduy's Alternative Identities analyzes recent theories of the archive to examine how Manuel Puig and Severo Sarduy reformulate the Latin American literary tradition. This study focuses on eclectic theories of the archive as both repository and danger, drawing from an array of sources both within and outside the Hispanic literary tradition: from Borges, Foucault, Arrom, Derrida, Gonz_lez Echevarr'a, and Guillory to digital media and biotechnology. This book also applies theories of cultural contamination (Maria Lugones) and symbolic capital (Pierre Bourdieu) to the novels of Puig and Sarduy to explore the representation of marginal cultures within a body of literature that previously altered or elided these subaltern cultures from the tradition. Through close readings and critical theoretical applications, this book demonstrates how archival fiction continues to be one of the most popular strategies among Latin American novelists and, most importantly, how they have successfully managed to find new ways to inscribe their alternative fictions within this tradition. Puig's and Sarduy's novels reproduce discourses-popular culture and the mass media-that lack prestige within the traditional archive. These discourses mirror realities of marginal groups-gay people, children, the poor, the illiterate, women, and racial minorities. Their cultural variants, sub-versions of hegemonic masterstories, are endowed with truth-bearing power for them, but were previously left out of the archive as legitimate novelistic models. To date, this is the only study of contemporary Latin American fiction that puts current theories of the archive-especially that of Roberto Gonz_lez Echevarr'a-to practice in such a systematic way. Riob-'s analysis of how Puig and Sarduy reformulate the Latin American canon is both a necessary complement of Gonz_lez Echevarr'a's work and an intelligent answer to the first of his projected masterstories. Riob-'s multidisciplinary approach offers a deep understanding and analysis of both the archive and of some of the Spanish language's most innovative and complex fiction.

During her lifetime, Gloria Fuertes achieved the status of a controversial cultural icon, both through her poetry for adults and through her poetry, recorded readings, and television programs for juveniles. This collection of lively essays, by authors who specialize in contemporary Spanish poetry, approaches the works of Gloria Fuertes from various theoretical and critical perspectives. In Her Words speaks to the inherent complexity of Gloria Fuertes's poetry, as manifested in its ultimate indeterminacy and undecidability, yet attests to this poet's abiding value as the voice of the marginalized-women, the poor, children, all the invisible members of society-who were silenced during the years of Spanish dictatorship under Franco. This book manifests the prescience of Fuertes's stands on a variety of social and cultural issues, from women's changing roles in society, gender and sexuality, identity within a society held captive by a dictatorial regime, to more universal themes such as love, justice, ethics, nature, and obsolete societal norms. In Her Words decisively addresses and ultimately rejects the Spanish cultural elite's inclination to disavow Fuertes's influence and reveals how her voice has shaped succeeding generations of Spanish poets and underscored the ubiquity of her verse in contemporary Spanish literature and culture. The subtlety and diversity of the essays included in this volume attest to the power of Gloria Fuertes's poetic creativity, her ability to appeal to a wide audience both in Spain and abroad, and her place in the contemporary Spanish poetic canon.

Henri Lefebvre and the Spanish Urban Experience is the first book to thoroughly apply the French urban philosopher's thought on cities to the culture and literature of Spain. Fraser shows how Lefebvre's complex view of city as a mobile phenomenon is relevant to understanding a variety of Spanish cultural products-from urban plans and short writing on the urban expereince during the nineteenth century to urban theories, cultural practices and literary fiction of the twentieth century, pushing on to interrogate even te apperance of Mediterranean space and Barcelona in recent videogames.

Encountering China addresses the responses of early modern travelers to China who, awed by the wealth and sophistication of the society they encountered, attempted primarily to build bridges, to explore similarities, and to emulate the Chinese, though they were also critical of some local traditions and practices.

This study deals with representation and resistance in Afro-Uruguayan culture. It explores the manner in which Afro- Uruguayans defined, and continue to affirm, their ''place'' in a country in which societal and self perceptions were/are constantly shifting.

Elena Garro and Mexicos Modern Dreams uses Elena Garro's eccentric life and work as a lens through which to examine mid-twentieth-century Mexican intellectuals desire to reconcile mexicanidad with modernidad. The famously scandalous first wife of Nobel Prize winner poet Octavio Paz, and an award-winning author in her own right, Garro constructed a mysterious and often contradictory persona through her very public participation in Mexican political conflicts. Herself an anxious and contentious Mexican writer, Elena Garro elicited profound political and aesthetic anxiety in her Mexican readers. She confused the personal and the public in her creative fictions as well as in her vision of Mexican modernity. This violation of key distinctions rendered her largely illegible to her contemporaries. That illegibility serves as a symptom of unacknowledged desires that motivate twentieth-century views of national modernity. Taken together, Garros public persona and critical perspective expose the anxieties regarding ethnicity, gender, economic class, and professional identity that define Mexican modernity. Blending cultural studies and detailed literary analysis with political and intellectual history, Mexicos Modern Dreams argues that, in addition to the intriguing gossip she elicited in literary and political circles, Garro produced a radical critique of Mexican modernity. Her critique applies as well to the nations twenty-first-century crisis of globalization, state power, and pervasive violence.

This volume is intended as an introduction of contemporary poetry by notable Uruguayan poets to the English-reading world, but also to readers of Spanish unfamiliar with them. Each poet is represented by an ample and varied selection of poems originally published in Spanish, here with English translations on facing pages. The final chapter is devoted to a biographical sketch of each poet and an extensive bibliography of primary and secondary sources.

The most significant European poet of the second half of the twentieth century, Paul Celan, viewed poetry as "the language of an individual that has become form," an individual that is constructed through the act of observation in the poem. Hillard argues that individuality is the crux of poetry for Celan because the Holocaust effectively eviscerated the individual. He investigates the core figures of individuality in Celan's poetry and prose: semblance, madness, and the wound. Celan's enigmatic poetry of a depopulated textual universe has perplexed critics. This book argues that the poetry's figures have a common source-the discourse of observation from the fields of appearance, perception, and the mind.

Post-Closet Masculinities in Early Modern England argues for a theory of male subjectivity that subordinates questions of desire beneath the historical imperatives that inform those desires. Employing a post-closet identity theory, this book argues that writers like John Donne, William Shakespeare, and George Herbert created an ideology of masculinity in conjunction with and in response to the great epistemological upheavals in early modern England. Donne, Shakespeare, and Herbert helped to create a masculinity that embodies an ironic subject position that is constantly shifting between men's desires for women and men's simultaneous rejection of women's bodies, and the inevitable encounter with the figure of the sodomite that their rejection invites.

Born in the small Extremaduran town of Moraleja in 1946, Spanish poet Pureza Canelo, at the age of twenty-five, published her first collections of poetry, Celda verde and Lugar comon (winner of the 1970 Adonais Prize). By 1979, she had settled upon an understanding of her own aesthetic evolvement, which she elaborated in Habitable (Primera poZtica). Then, in 1986, after a period of disenchantment with the written word during which she published only two chapbooks-Espacio de emoci-n (1981) and Vega de la paloma (1984)-she redefined her position in Tendido verso (Segunda poZtica). Designed to complement Nature's Colloquy with the Word: Pureza Canelo's First Poetics (Bucknell, 2004), the current text deciphers the intricate poetic language of the poet's mature works, which, at the time of writing, included the two above-mentioned chapbooks as well as Tendido verso, Pasi-n inZdita (1990), and No escribir (1999). The author traces recurrent aesthetic and philosophical positions that serve to differentiate the poet's first and second poetics. Tendido verso is the volume in which temporality supercedes essence and, in so doing, breaks with insights expressed by Juan Ram-n JimZnez during his Modernist phase. In Pasi-n inZdita the intimate pronominal discourse between poet and creative other allows them to coalesce into an indeterminate being. At this point the desired goal of the creative process is achieved; the 'holy wedding' (hieros gamos) of poet and creative other occurs. No escribir abandons the struggle of Canelo's previous books and carries out the method prescribed by her second poetics. She recognizes that only the creative process can satisfy her desire, and that love, the dominant symbol for creation, indeed, allows the pain of poetic failure to cease. Passion, nonetheless, must stop short of fulfillment, since the written poem, laden with the poet's gaze and subjectivity, cannot exist apart from its shadow. It is the poem shadow, like Lacan's objeta, that most disturbs the poet. Only by positioning herself close to the creative process, similar to a worker on scaffolding, is she able to assume a 'parallax view' (in 3iyek's sense), if not of the finished poem, of its formation. In contextualizing the poet's work, Pritchett discovers commonalities with Romantic, Modernist, and creacionista writers. Canelo's insights, moreover, display a resemblance to Heidegger's thoughts on time, being, and poetry, Lacan's ideas on experience and language, and 3iyek's vision of the subject's relationship to the object. Out of the latter's 'parallax view' a perception comes to light that requires poets to deny aesthetic idealism and scrutinize the subject-object relationship. It is Canelo's detection of poem 'shadows' that drives her to refine her approach to creation and, thus, to evolve as a poet.

This book is a critical study of the work of Gregory Rabassa, translator of such canonical novels as Gabriel Garca Mrquezs Cien aos de soledad, Jose Lezama Limas Paradiso, and Julio Cortzars Rayuela. During the past five decades, Rabassa has translated over fifty Latin American novels and to this day he is one of the most prominent English translators of literature from Spanish and Portuguese. Rabassas role was pivotal in the internationalization of several Latin American writers; it led to the formation of a canon and, significantly, to the most prevalent image of Latin American literature in the world. Even though Rabassas legacy has been widely recognized, the extent of his works influence and the complexity of the sociocultural circumstances surrounding his practice have remained largely unexamined. In Gregory Rabassas Latin American Literature: A Translators Visible Legacy, Mara Constanza Guzmn examines the translators conceptions about language, contextualizes his work in terms of the structures and conditions that have surrounded his practice, and investigates the role his translations have played in constructing collective narratives of Latin American literature in the global imaginary. By revisiting and historicizing the translators practice, this book reveals the scale of Rabassas legacy. The translator emerges as an active subject in the inter-American literary exchange, an agent bound to history and to the forces involved in the production of culture.

The recovery and reinvention of the past were fundamental to the conception of the modern in England during the long eighteenth century. Scholars then forged connections between linear time and empirical evidence that transformed historical consciousness. Chronologers, textual critics, and antiquaries constructed the notion of a material past, which spread through the cultures of print and consumption to a broader public, offering powerfuland for that reason, contestedways of perceiving temporality and change, the historicity of objects, and the relation between fact and imagination. But even as these innovative ideas won acceptance, they also generated rival forms of historical meaning. The regular progression of chronological time accentuated the deviance of anachronism and ephemerality, while the opposition of unique artifacts to ubiquitous commodities exoticized things that straddled this divide.Inspired by the authentic products as well as the anomalous by-products of contemporary scholarship, writers, craftsmen, and shoppers appropriated the past to create nostalgic and ironic alternatives to their own moment. Barrett Kalter explores the history of these ';modern antiques,' including Dryden's translation of Virgil, modernizations of The Canterbury Tales, Gray's Gothic wallpaper, and Walpole's Strawberry Hill. Though grounded in the ancient and medieval eras, these works uncannily addressed the controversies about monarchy, nationhood, commerce, and specialized knowledge that defined the present for the English eighteenth century. Bringing together literary criticism, historiography, material culture studies, and book history, Kalter argues that the proliferation of modern antiques in the period reveals modernity's paradoxical emergence out of encounters with the past.

Out of the mainstream but ahead of the tide, that is Scottish Science Fiction. Science Fiction emphasizes ';progress' through technology, advanced mental states, or future times. How does Scotland, often considered a land of the past, lead in Science Fiction? ';Left behind' by international politics, Scots have cultivated alternate places and different times as sites of identity so that Scotland can seem a futuristic fiction itself. This book explores the tensions between science and a particular society that produce an innovative science fiction. Essays consider Scottish thermodynamics, Celtic myth, the rigors of religious ';conversion,' Scotland's fractured politics yet civil society, its languages of alterity (Scots, Gaelic, allegory, poetry), and the lure of the future. From Peter Pan and Dr. Jekyll to the poetry of Edwin Morgan and the worlds of Muriel Spark, Ken Macleod, or Iain M. Banks, Scotland's creative complex yields a literature that models the future for Science Fiction.

Afro-Cuban Identity in Post-Revolutionary Novel and Film examines the changing discourse on race as portrayed in Cuban novels and films produced after 1959. Andrea Easley Morris analyzes the artists' participation in and questioning of the revolutionary government's revision of national identity to include the unique experience and contributions of Cuban men and women of African descent. While the Cuban revolution brought sweeping changes that vastly improved the material condition of many Afro-Cubans, at the time overrepresented among Cuba's poor and marginalized, the government's official position was that racial inequities had been resolved as early as 1962. Although a more open dialogue on race was cut short, the work of several novelists and film directors from the late 1960s and 70s expresses the need to explore what was gained and lost by Afro-Cubans in the early years of the revolution, among them Manuel Granados, Miguel Barnet, Nivaria Tejera, Sara Gomez, Cesar Leante, Toms Gutierrez Alea, Sergio Giral, and Manuel Cofio. Their works participate in the process of redefining Cuban national identity that took place after the revolution and, more specifically, they explore the place of Afro-Cuban identity within a broader notion of revolutionary ';Cubanness.' This occurs through an emphasis on Afro-Cuban cultural practices that have constituted forms of resistance to colonial and neo-colonial oppression. This book examines the identity conflicts portrayed in these works and takes into account the artists' negotiation of their own status within the revolutionary context by looking at the narrative strategies used to address racial issues within the constraints placed on cultural production in Cuba after 1962.

Does fiction do more than just represent space? Can our experiences with fictional storytelling be in themselves spatial? In Constructing Spain: The Re-imagination of Space and Place in Fiction and Film, Nathan Richardson explores relations between cultural representation and spatial transformation across fifty years of Spanish culture. Beginning in 1953, the year Spanish space was officially reopened to Western thought and capital, and culminating in 2003, the year of Aznar's unpopular involvement of his country in the second Iraq War, Richardson traces in popular and critically acclaimed fiction and film an evolution in Spanish storytelling that, while initially representative in nature, increasingly engages its audience in spatial practices that go beyond mere perception or conception of local material geographies.In original readings of films by Luis Berlanga, Luis Buuel, Alex de la Iglesia, Alejandro Amenbar, and Julio Medem, and novels by Juan Goytisolo, Antonio Muoz Molina, and Javier Maras, Richardson shows this formal evolution as a necessary response to developments, restorations, and transformations of local landscapes that resulted during these years from various human migrations, tourist-invasions, urban development plans, resurgent nationalisms, and finally globalization. As these changes occur, Richardson traces a shift in the works studied from mere representation of spatial change toward actual engagement with shifting physical and social geographies, as they inch ever closer toward the production of an actual spatial experience for their audiences. In the final chapters of this book, Richardson offers in-depth and highly original readings of the storytelling projects of Medem and Maras in particular, showing how these two artists invite readers to not only reconceive hegemonic notions of space and place, but to practice alternative notions of being-in-place. In these final readings, Constructing Spain, points to the newest developments in contemporary Spanish narrative and film, a rise of new grammars of creation to challenge the ongoing capital-driven creative destruction of globalized Spanish geography.

Combining queer theory with theories of affect, psychoanalysis, and Foucauldian genealogy, Romanticism, Gender, and Violence: Blake to George Sodini theorizes performative melancholia, a condition where, regardless of sexual orientation, overinvestment in gender norms causes subjects who are unable to embody those norms to experience socially expected (';normal') gender as something unattainable or lost. This perceived loss causes an ambivalence within the subject that can lead to self-inflicted violence (masochism, suicide) or violence toward others (sadism, murder). Reading a range of Romantic poetry and novels between 1790-1820, but ultimately moving beyond the period to show its contemporary cultural relevance through readings of Eliot's The Mill on the Floss, Virginia Woolf's Mrs. Dalloway, Andrew Holleran's Dancer from the Dance, and George Sodini's 2009 murder-suicide case, this study argues that we need to move beyond focusing on bullying, teens, and LGBT students and look at our cultural investment in gender normativity itself. Doing so allows us to recognize that the relationship between non-normative gender performance and violence is not simply a gay problem; it is a human problem that can affect people of any sex, sexuality, age, race, or ethnicity and one that we can trace back to the Romantic period. Bringing late 18th-century novels into conversation with both canonical and lesser-known Romantic poetry, allows us to see that, as people whose performance of gender occasionally exceeds the normal, we too often internalize these norms and punish ourselves or others for our inability to adhere to them. Contrasting paired chapters by male and female authors and including sections on failed romantic coupling, melancholic femininities, melancholic masculinities, failed gender performance and madness, and ending with a section titled After Romanticism, this study works on multiple levels to complicate previous understandings of gender and violence in Romanticism while also offering a model for contemporary issues relating to gender and violence among people who ';fail' to perform gender according to social norms.

The essays in this volume portrays the public debates concerning freedom of speech in the 18th century in France and Britain as well as Austria, Denmark, Russia, and Spain and its American territories. The economic integration of Europe and its offshoots over the past three centuries into a distinctive cultural product, 'the West,' has given rise to a triumphant universalist narrative that masks these disparate national contributions to freedom of speech and other liberal rights.

Descendants of Waverley examines contemporary novelists' combination of historical authority and narrative art to create authentic and accessible depictions of the past. This technique, the ';romance of history,' challenges conventional theories that the novel as a genre erased the romance. Individual chapters establish the critical framework, analyze the strategies that authors use to romance history, and demonstrate the subgenres that exist in current historical fiction. While the author does not consider Walter Scott to be the inventor of historical fiction, she demonstrates the ways in which contemporary fiction's techniques reflect the form of the genre that Scott both developed and theorized in the Waverley novels (18141832). In writing his ';historical romances,' Scott drew on the forms of the fictions that preceded his work, especially Gothic fiction, and was influenced by the fluid definitions of ';romance' that permeated the theorizing of the novel and its development in the eighteenth century, where fiction was described as evolving from and replacing romances and referred to as ';romances' themselves. She begins by tracing this history and moves on to discuss contemporary fiction, both as technique, in the uses of intertextuality, and in as form, in the increasing hybridity of contemporary fiction. This hybridity is reflected in such forms as the historical detective novel, the embedded narrative, and the biographical novel; the pedagogical elements inherent in the historical novel before Scott's oeuvre continue into the present. The book ends with the recent phenomenon of historical fantasy; in this subgenre, the traits of more conventional historical fiction, such as intertextuality and the tension between the familiar and strange, combine with a playful form of fantasy that releases revenants among the Luddites and wizards into the Battle of Waterloo. John Frow's theory of the slipperiness of genre is a critical component for explicating the most recent metamorphoses of historical fiction. The critical framework also develops from recent and eighteenth-century histories of the novel, twentieth- and twenty-first-century theories of Scott's influence, and contemporary writers' own reflections on what they do when they write historical novels.

This first volume in the new Stories of the Susquehanna Valley series describes the Native American presence in the Susquehanna River Valley, a key crossroads of the old Eastern Woodlands between the Great Lakes and the Chesapeake Bay in northern Appalachia. Combining archaeology, history, cultural anthropology, and the study of contemporary Native American issues, contributors describe what is known about the Native Americans from their earliest known presence in the valley to the contact era with Europeans. They also explore the subsequent consequences of that contact for Native peoples, including the removal, forced or voluntary, of many from the valley, in what became a chilling prototype for attempted genocide across the continent. Euro-American history asserted that there were no native people left in Pennsylvania (the center of the Susquehanna watershed) after the American Revolution. But with revived Native American cultural consciousness in the late twentieth century, Pennsylvanians of native ancestry began to take pride in and reclaim their heritage. This book also tells their stories, including efforts to revive Native cultures in the watershed, and Native perspectives on its ecological restoration.While focused on the Susquehanna River Valley, this collection also discusses topics of national significance for Native Americans and those interested in their cultures.