Lesser-known Authors Research Articles

Karl Löwith on the I–thou relation and interpersonal proximity

Current research on second-person relations has often overlooked that this is not a new topic. Addressed mostly under the heading of the “I–thou relation,” second-person relations were discussed by central figures of the phenomenological tradition, including Edmund Husserl and Martin Heidegger, but also quite extensively by much lesser-known authors, such as Karl Löwith, Ludwig Binswanger, and Semyon L. Frank, whose work has been undeservedly neglected in current research. This paper starts off by arguing that, in spite of the rightly acknowledged differences between the Husserlian and the Heideggerian approaches to the investigation of the social world, both approaches converge in the claim that the I–thou relation is founded on more basic forms of sociality. In a second step, against the background of Frank’s and Binswanger’s challenges to that claim, I argue that Löwith’s proposal that the I–thou relation is a primordial form of sociality can be vindicated by conceptualizing I–thou relations as close personal relationships (paradigmatically exemplified by companion friendships and romantic partnerships). After assessing how Löwith’s approach to the I–thou relation stands vis-à-vis Heidegger’s and Husserl’s views, I conclude by suggesting how Löwith’s approach can contribute to current research on second-person relations.

Ecological and Aesthetic Potential of Works about Chornobyl: Technogenic Disaster as a Literary Problem

ABSTRACT This article is aimed at revealing the theme of the Chornobyl disaster as an apocalypse in the lyrical works of Ukrainian poets. The prerequisites for the development of the phenomenon of the “post-Chornobyl library” are revealed, the works of outstanding sixtiers (Ivan Drach, Lina Kostenko, Borys Oliynyk, and Dmytro Pavlychko) are considered, the elements that are called to the accident at the Chornobyl nuclear power plant are highlighted, and an imagery analysis of the selected works is carried out. Discourses about the catastrophe, apocalypse, and postapocalypse are highlighted to demonstrate Chornobyl, in lyrics and lyrical epic, as the largest man-made environmental and humanitarian tragedy. The connection between the Chornobyl discourse in literature and criticism of the Soviet regime as a manifestation of inhumanity and totalitarianism is revealed. An array of ecological poetry of lesser-known authors is processed and their contribution to the poetry of the paradigm is indicated, and a detailed analysis of the ecological lyrics of the late twentieth and early twenty-first centuries by authors Nina Hnatiuk, Tetiana Yakovenko, and Valentyna Storozhuk is carried out.

The Impact of the American Revolution on French Anticolonial and Antislavery Views in the 1780s

Abstract: The American Revolution happened as Raynal and Diderot were working on the third edition of their monumental Philosophical and Political History of the Settlements and Trade of the Europeans in the East and West Indies . Beyond this bestseller of the 1770s and 1780s, many lesser-known authors started to consider the impact of the American Revolution on the issue of colonies and empires. Among them were journalists and essayists who lived in the French colony of Saint-Domingue. The American Revolution appeared to them, as well as to other French cosmopolitan writers of the same generation and profile, as the starting point of a liberation of the whole American continent from European imperial rule and potentially from the slave trade and slavery. The gradual abolition of slavery in Northern American States was seen as a logical consequence of the American Revolution. However, the writers who thought about the consequences of the American Revolution in terms of decolonization were not the same as those who engaged in a thorough reflection on slavery, a debate in which more well-known figures, like Condorcet and Brissot, played a key role.

СЛИКА СРПСКОПРАВОСЛАВНОГ САРАЈЕВА У ПРОЗИ МАЊЕ ПОЗНАТИХ ПРИПОВЈЕДАЧА НА РАЗМЕЂИ 19. И 20. ВИЈЕКА

The paper deals with the image of the Serbian Orthodox community in the late Ottoman and Austro-Hungarian Sarajevo, given through the narrative work of lesser-known authors of the second half of the 19th and the first half of the 20th century: Stevo Kaluđerčić, Mita Živković, Novak Simić. Since most of these authors also wrote historiographical texts about Sarajevo (which we will also refer to), and their fiction is based on the poetic principles of realism and is intended primarily for a local and regional audience, we introduced the hypothesis that the horizon of expectations at the time had to impose a high mimetic referentiality of the work. Therefore, through this work, we will try to prove the real relevance of the literary images of the city and its Serbian community, with the hope that such a modest contribution would shed the light on the still insufficiently researched cultural history of the Sarajevo Serbs.

Remembering James A. Parr (1936–2022)

Remembering James A. Parr (1936–2022) Barbara Simerka (bio) In my first doctoral class with Jim, he didn’t bring a prepared syllabus. Instead he consulted with the seven of eight of us gathered in the seminar room: which comedias had we read recently or often, which did we want to brush up on, what topics did we want to explore when looking at lesser-known authors and plays? The resulting syllabus required us to prepare two plays and two critical essays each week, but no one complained because of this collaborative approach to designing the syllabus. In particular, we enjoyed that the carefully chosen texts and essays often contradicted each other, and provided a springboard for intense debates. The next semester, in the Don Quixote seminar, he assigned his own recently published masterwork, Anatomy of Subversive Discourse—but also essays that offered vastly different perspectives of Cervantine narrative structure. Four years later, Jim and I had lunch in order to discuss the turn towards ideological study that my dissertation had taken. Even though he was not a fan of cultural studies, he listened carefully as I provided the examples of close reading to back up my ideas. Then, even though Jim was gravely concerned that materialist frameworks would be harmful to the Humanities as an intellectual enterprise, he supported me completely with the other doubters on my dissertation committee. I observed similar examples of support for new approaches in Jim’s work with his other graduate students—my USC siblings. There are no “School of Parr” scholars precisely because he encouraged us to blaze our own trails, in fields as diverse as feminist, cognitive, and queer studies. This sense of openness marked my relationship with Jim over the following three decades and is also the hallmark of his contributions to the fields of comedia [End Page 9] and Quixote studies. Dating all the way back to 1974, his Hispania essay on the state of Golden Age studies encouraged comedia scholars to move beyond close reading and incorporate interdisciplinary and comparative approaches. Under his leadership as editor, Bulletin of the Comediantes solidified its position as a top tier journal that publishes forward-thinking essays; not seeking to claim the cutting edge, but publishing a steady stream of thoughtful studies that advanced our knowledge as the discipline evolved. Jim’s upbringing resembles that of our current students. He was a first-generation college student from a modest midwestern background, the local boy who succeeded. He served in the military after his high school graduation, then earned his doctorate from the University of Pittsburgh. In an astonishing leap, he was named full professor and head of the department of Murray State University by the age of twenty-seven. Even a cursory glance at the daunting record of achievements on his curriculum vitae reveals the depth and breadth of his scholarly endeavors. Jim published five books and more than sixty articles in highly respected journals, many in the era of typewriters and hard- bound copies of the MLA Bibliography. He was honored by the National Endowment for the Humanities and the Fulbright Foundation. The University of Alabama named him “Eminent Scholar” in 1994. He also served in countless professional organizations, including a term as president for the Cervantes Society of America. James Parr played an important role in the evolution of our discipline, one that should not be overlooked or forgotten, but celebrated. His ability to look beyond his personal perspective to support innovative and high-quality scholarship is a model for current and future scholars. [End Page 10] Barbara Simerka Queens College CUNY barbara.simerka@qc.cuny.edu Barbara Simerka Barbara Simerka is Professor of Spanish at Queens College/CUNY. She is author of Knowing Subjects (2013 Purdue UP) and Discourses of Empire (2003 Penn State UP) and has published numerous essays on early modern feminism, Don Quixote and postmodern film, and dramas de privanza. She is currently engaged in research on sociological studies of status as an identity category, and on pedagogical studies of addressing representations of violence and trauma in the classroom. Copyright © 2022 Cervantes Society of America

The Marmaduke Problem

Michigan State University (MSU) is home to one of the largest library comics collections in North America, holding over three hundred thousand print comic book titles and artifacts. Inspired by the interdisciplinary opportunity offered by digital humanities practice, a research collaborative linked to the MSU Library Digital Scholarship Lab (DSL) developed a Collections as Data project focused on the Comic Art Collection. This team extracted and cleaned over forty-five thousand MARC records describing comics published in Canada, Mexico, and the United States. The dataset is openly available through a GitLab repository, where the team has shared data visualizations so that scholars and members of the public can explore and interrogate this unique collection. In order to bridge digital humanities with the popular culture legacy ofthe institution, the MSU comics community turned to bibliographic metadata as a new way to leverage the collection for scholarly analysis. In October 2020, the Department of English Graphic Possibilities Research Workshop gathered a group of scholars, librarians, Wikidatians, and enthusiasts for a virtual Wikidata edit-a-thon. This project report will present this event as a case study to discuss how linked open metadata may be used to create knowledge and how community knowledge can, in turn, enrich metadata. We explore not only how our participants utilized the open-access tool Mix’n’match to connect the Comic Art Collection dataset to Wikidata and increase awareness of lesser-known authors and regional publishers missing from OCLC and Library of Congress databases, but how the knowledge of this community in turn revealed issues of authority control.

Physico-mathematics and the life sciences: experiencing the mechanism of venous return, 1650s–1680s

ABSTRACT This article deals with physico-mathematical approaches to anatomy in post-Harveyan physiology. But rather than looking at questions of iatromechanics and animal locomotion, which often attracted this approach, I look at the problem of how blood returned to the heart – a part of the circulation today known as venous return but poorly researched in the early modern period. I follow the venous return mechanisms proposed by lesser-known authors in the mechanization of anatomy, such as Jean Pecquet (1622–1674) and Nicolaus Steno (1638–1686), alongside the more famous Giovanni Alfonso Borelli (1608–1679). Their mechanisms differed only in small details. Yet, these minor differences highlight significant aspects of the mechanization of the life sciences in the seventeenth century. First, they relied more on observations than hitherto acknowledged, even if only indirectly. Second, their mechanisms drew more from the physico-mathematical disciplines than from the trending corpuscularian philosophies of their time. Finally, these mechanisms led to a more accurate understanding of the circulation that remains valid today, thus revealing their cognitive benefits. In short, through the single problem of how blood returned to the heart, this article portrays the increasing complexity of anatomy in the early modern period.

Classics in the Modernists' World

Classics in the Modernists' World Stephanie Nelson (bio) While the range of Gregory Baker's new work on Celtic Modernism and Classics is impressive, even more impressive is the web of interconnections that it calls forth. On the one hand, Baker uncovers the fascinating variety in the nationalist and language-revival movements of Ireland, Wales, and Scotland in the 19th and 20th centuries. On the other, he reveals the profound differences possible in the role of "Classics" in the modern world. Far from the normative view of a gradual disappearance of Greek and Latin as irrelevant to modernity—an issue Baker interestingly, and ably, leaves to his conclusion—we see, for example, Scotland, where the study of academic English prevailed early over Classics, Wales, which viewed itself as Roman, and Ireland, seen now as an oral culture on the verge of finding its Homer. In each case, Classics, which had served as a key instrument of the English ruling class, connects with movements supporting the national language against the over-powering encroachment of English. Again, this occurs in a variety of ways: in Wales linked to anti-industrialism, in Scotland to the divide between Lowland Lallans and Highland Gaelic, and in Ireland to a mythologized past. Moreover, as Baker points out, Classics' "decline" in fact opened it up for different kinds of repurposing, while work such as that of Cornford and Harrison "superannuated in a stroke the Victorian Homer," as Eliot put it (100) by bringing ethnography, archaeology, and cultural anthropology into Classics, radically changing the implications of its reception. To add another intriguing touch, the four writers treated here, W. B. Yeats, James Joyce, David Jones, and Hugh Mac-Diarmid [End Page 109] (Christopher M. Grieve) linked the Celtic and the Classical even though (excepting Joyce and Latin) they had only a peripheral knowledge of the languages. And all of this before we even get to the infinitely tangled question of what modernism actually is. The work thus brings together what might be, in other hands, a dizzying combination of factors, underlining the need that Baker describes, to resist a prevailing "temptation to employ categories or other abstract principles as a blunt instrument" (xi). There is, of course, a reason why the simple idea of "inheritors of a so-called classical tradition" (xiii) has taken hold—among other things it puts the forest and the trees in their proper places and proportions. Baker manages the same in a far more nuanced and productive way, through an approach he describes as narrative historicism, a method that gives thick historical context while (citing Kevin Birmingham) embedding arguments in a story rather than stories in an argument (xv). The method is extremely à propos, rejecting the idea of an "ossified 'classical tradition' of predetermined significance" and exploring instead a series of relations in which Classics "catalyzed a variety of insurgent ideologies, literary idioms and experimental expressions across languages" (xvii). Given this complexity, Baker's choice to focus his discussion through Yeats, Joyce, Jones, and MacDiarmid and to look closely at specific works rather than an entire oeuvre was extremely wise. In the case of Yeats, where any attempt to summarize could only be superficial, the choice to concentrate on The Wanderings of Oisin (1889) and King Oedipus, Yeats' translation of Oedipus Rex (published in 1928), not only brings out how drastically Yeats' approach to the Classical changed, but also serves as a brilliant contrast to the consideration of the "Cyclops" episode from Joyce's Ulysses (1922) which Baker places between the two chapters on Yeats. The final two chapters, on the Welsh and Scots poets, David Jones and Hugh MacDiarmid, range more widely, as is appropriate for lesser-known authors, but maintains its focus by concentrating on Jones' Anathemata (1952) before moving into a consideration of the changes in MacDiarmid's poetry. Baker's conclusion caps the study by remarking how, as the study of Greek and Latin was replaced by academic English, Yeats and Joyce themselves became [End Page 110] canonized—just as English, inexorably, and against the grain of all four authors, moved from taking over the Celtic languages into the world-language it has become. Baker's...

Gender in American Literature and Culture ed. by Jean M. Lutes and Jennifer Travis

Reviewed by: Gender in American Literature and Culture ed. by Jean M. Lutes and Jennifer Travis Aimee Armande Wilson Gender in American Literature and Culture. Edited by Jean M. Lutes and Jennifer Travis. Cambridge: Cambridge University Press, 2021. v + 375 pp. $39.99 cloth/$32.00 e-book. Gender in American Literature and Culture seeks to build on previous generations of feminist and gender studies scholarship. The chapters "honor the tradition of feminist recovery projects," "follow in the wake of previous critics who have redefined some of the texts that are considered canonical," and challenge "the well-entrenched white patriarchy that has often narrowly defined what counts as literary" (3). These may be familiar goals, but they are nevertheless important ones. The outcomes that the earliest feminist literary critics set out to achieve are still as worthy as they are unattained. This is not to suggest that no progress has been made but to recognize that much work remains. As editors Jean M. Lutes and Jennifer Travis point out, "decades of canon-busting have barely nudged white male authors from their primacy of place" (3). Current issues get top billing in Gender in American Literature and Culture; a small sampling includes #MeToo and Missing and Murdered Indigenous Women movements, settler colonialism, transphobia, and attacks on reproductive rights. The book's scope is admirably diverse, citing "texts by forty-three white authors and forty-six writers of color, written as early as 1630 and as recently as 2018" (3). Many of these authors are well known, such as Anne Bradstreet, Edith Wharton, and Zora Neale Hurston. The book covers just as many lesser-known authors, too, including Gerda Saunders, author of a contemporary Alzheimer's memoir, and 'Afīfa Karam, an early-twentieth-century Lebanese-American journalist, novelist, and translator. As with any volume covering such a large swath of authors, topics, and time periods, comprehensiveness is impossible. The editors admit that they are not attempting comprehensiveness and, furthermore, confront the intellectual flaws of such grand-sweep styles of literary scholarship. In one of the most insightful moments in the introduction, Lutes and Travis establish the scope of the book while simultaneously commenting on the state of literary studies in 2021: "While we believe that understanding the cultural and historical operations of gender in the United States is more pressing than ever, we also recognize that a chastened model of literary criticism has emerged, one that is less confident in its transformative potential, more skeptical of liberatory claims, and more modest in its sense of what it can accomplish" (2). Although the volume was completed before the global pandemic and its continuing fallout, the inequities laid bare by these events were evident long before, and the writers in this volume respond to those extant [End Page 125] inequities. If anything, the pandemic years have made this book timelier and more urgent. As would be expected given this feminist approach, the volume does not shy away from political issues. Indeed, the feminist underpinnings of the volume can be seen in the editors' open embrace of presentism. Lutes and Travis state that the book "responds to this cultural and political moment with chapters that are presentist and activist but also keen to avoid overreaching" (2). At its best, the presentism employed by the writers in this volume simultaneously considers differences between historical periods as well as bridges between them in service of a better understanding of the conditions that led to current tragedies and political flashpoints. Each of the book's three thematic sections is organized chronologically. In the first, "Intimacies," writers consider literary depictions of intimate relationships. Chapters focus on the various forms of desire and violence contained in these relationships. Standouts include Marion Rust's "Post-Reproductive Female Sexuality and the Early American Novel," which is part of a resurgence of scholarly interest in sexuality in early American literary studies, and Travis M. Foster's "The Effeminate Man in Nineteenth-Century America," which considers the intersection of masculinity, eugenics, and white supremacy in the popular press. "Aggressions," the second section, "demonstrate[s] that gendered violence is endemic to American literary history and culture" (8). This section is the strongest of the...

Inside the Critics' Circle: Book Reviewing in Uncertain Times

Inside the Critics' Circle: Book Reviewing in Uncertain Times

Romanian-Greek manuscript inventory number 27 Anthology – An Account of the activity of the copyist Chiril Monahul from Bisericani Monastery (Neamt County)

Abstract This paper is a fraction of an ampler project aimed at classifying and studying the entire collection of musical manuscripts from the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina of Iasi. This documentary collection consists of a number of 32 musical manuscripts, in Chrysantine notation mainly originating from the 19th century. Manuscript 27 was created in 1846 by Cyril the Monk from the Bisericani Monastery (Neamt county) – he was a psalter, composer and copyist of great talent. He wrote other two manuscripts, ms. inventory numbers 23 and 31/49, which are in the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina of Iasi. His own creation (with the mention “by the writer”) in Ms. 27 contains the first psalm, Blessed is the man in the plagal of the 4th mode, the troparia God is with us in the plagal of the 4th mode, the polyeleos Good word in the 4th mode legetos, the doxastikon of the Easter, The day of Ressurection, the plagal of the 1st mode and two heirmoi of the Holy Week. These are chants that are remarkable through their fluidity and expressiveness, as they retain the specific psaltic melodic formulas and reveal a balanced analytical musical writing. The liturgical music in Manuscript 27 consists of various chants, from those performed during the Vespers to the Matin and the Liturgy. Following analysis of the manuscript’s repertoire, I discovered that the main source of Ms. 27 is the first three volumes of the Anthology by Nektarios Frimu, published in Neamț (3rd volume, 1840) and Iași (1st and 2nd volume, 1846). Cyril the Monk, the copyist of Ms. 27, selected works from these sources, and introduced along the self-authored chants mentioned earlier, chants by other lesser-known authors, such as Nechifor (The Blessings of the Ressurection, the plagal of 1st mode in Greek) and Calinic (troparia from the chant Lord is with us, the plagal of the 4th mode in Romanian and the polyeleos The Lord’s servants, the plagal of the 2nd mode, in Greek). Besides, among the chants in Romanian, the manuscript records chants in Greek (by established Greek authors), which are proof of the continuous practice of the Greek chanting in Moldavia, long with that in Romanian, in the period before the Reforms (1863-1864) introduced by Alexandru Ioan Cuza, the ruler of the Romanian Principalities.

Bajo el signo vanguardista: las otras voces de un sueño en libertad /

The contribution of Agustín Espinosa as a leading promoter and creator of avant-garde literature in our islands is unquestionable. His role as a crucial representative of this period of our literary culture found wide resonance in other writers who, thanks to their literary work, give solidity to a unique moment of creative freedom in the environment of our islands. This article seeks to illustrate this relevance by giving due prominence to other lesser-known authors who belong to this remarkable period.

Osaka Modern: The City in the Japanese Imaginary by Michael P. Cronin

Reviewed by: Osaka Modern: The City in the Japanese Imaginary by Michael P. Cronin Andrew Murakami-Smith Osaka Modern: The City in the Japanese Imaginary. By Michael P. Cronin. Harvard University Asia Center, 2017. 246 pages. Hardcover, $39.95/£28.95/ €36.00. A course I teach investigates the possibilities of an "Osaka tradition" within modern Japanese literature as an alternative to a Tokyo-centric narrative of Japanese literary history. No such tradition is recognized by Japanese literary critics and historians, but most Japanese would be able to name several "Osaka works" (Ōsaka mono), including those by well-known natives such as Oda Sakunosuke (1913–1947) and Tanabe Seiko (1928–) and by lesser-known authors like Uno Kōji (1891–1961) and Kamizukasa Shōken (1874–1947). Kamizukasa's Hamo no kawa (Skin of the Pike Conger Eel; 1914) was seen by both Oda and Uno as an early example of Ōsaka-mono in the modern era. The list could also include works by major names like Kawabata Yasunari (1899–1972), who was born in Osaka and raised nearby in what is now the city of Ibaraki, [End Page 297] and Tanizaki Jun'ichirō (1886–1965), a Tokyo native who relocated to the Kansai area after the Great Kantō Earthquake of 1923 and set many of his subsequent works in and around Osaka. Thus an Osaka tradition would not constitute an independent stream or even a tributary to the mainstream of modern Japanese literature, but rather an alternative, decentering reading of the existing canon and tradition. This is precisely the kind of reading that Michael P. Cronin brilliantly carries out in Osaka Modern: The City in the Japanese Imaginary. The heterogeneity of the Osaka tradition alluded to above—writers major and minor, Osaka natives and non-natives—and its historical breadth, extending back to Chikamatsu and Saikaku in the Edo period and forward to the present day, preclude an exhaustive survey. In any case, since to postulate an Osaka tradition is to perform a decentering, genealogizing reading of Japanese literature, any treatment should avoid the temptation to tell a totalizing story. Cronin's analysis wisely centers on just four works by two authors, Tanizaki and Oda, in the period between the world wars, with a final main chapter on the postwar writer Yamasaki Toyoko and postwar film adaptations of Osaka literary works by these three and others. Cronin's purpose in focusing on the interwar period is to posit what he calls a "treasonous" Osaka—the possibility that the local, as manifested by Osaka, constituted a base of resistance to the Tokyo-centered national narrative of militarism and imperialism leading up to the Pacific War. The final chapter, however, pessimistically delineates the subsequent enervation of the local in an ever-more Tokyo-centric national, and global, system of consumer capitalism. The question of whether Osaka or any locality can continue to offer possibilities for resistance to Japan's current political, economic, and cultural centralization in Tokyo—and to the homogenizing and commodifying forces of global consumer capitalism—is left to other scholars. Cronin's introduction, titled "Osaka as an Idea," opens with an impressionistic depiction of what it means for an individual to live in a city: We know a city in manifold ways. We inhabit it as a collection of spaces: streets and alleys, waterfronts and canals, neighborhoods and squares. We traverse it as a set of itineraries: commutes, after-dinner strolls, convenience-store runs, and subway rides. We experience it, too, as a sensorium of voices and noises, tastes, smells, sights, and touches. We encounter it as a series of individuals who belong to populations and types characteristic of cities or of that particular city. Above all, we know a city as a set of practices that subsume these other knowledges as we catch a taxi or jaywalk or carry a police whistle or join a festival crowd. (p. 1) In this passage, Cronin paints a sensory panorama of city life, deftly conjuring the variegated panoply that makes any city interesting to experience or visit, and indeed to read about or to investigate through academic research. While his discussion then naturally moves to knowledge of a city "through...

L'enclos des Lumières: essai sur la culture littéraire en Suisse romande au XVIIIe siècle by François Rosset

Reviewed by: L'enclos des Lumières: essai sur la culture littéraire en Suisse romande au XVIIIe siècle by François Rosset James P. Gilroy Rosset, François. L'enclos des Lumières: essai sur la culture littéraire en Suisse romande au XVIIIe siècle. Georg, 2017. ISBN 978-2-8257-1053-1. Pp. 271. Rosset explores the writings of French-speaking authors in western Switzerland, mostly from the Vaud area and its capital Lausanne, in the eighteenth century. Although he includes them briefly in his study, Rosset has chosen not to devote great attention to the more famous writers, like Rousseau, Isabelle de Charrière, and Germaine de Staël. Instead he focuses on lesser-known authors, many of whom were admittedly second-rate but whose works are revelatory of the mindset and ethos of Suisse romande artists and intellectuals. These authors expressed an ambiguous stance toward their bigger and more illustrious neighbor France. There was a certain inferiority complex vis-à-vis Paris, but they often made a proud affirmation of their distinctness. Philippe-Sirice Brudel, for example, advocated a distinctly Swiss poetry, inspired by sublime Nature and the heroic past of its citizens. Swiss writers also voiced opposition to cultural and moral trends radiating from the French capital. They gloried instead in the qualities that they felt make Switzerland unique and even superior. They created collectively a myth of Switzerland which they celebrated in their works. They depicted a people that is industrious, free, tolerant, peace-loving, and sincerely virtuous. The Swiss are imbued with religious faith and a love of nature as revealing God's presence. Although they welcomed the Enlightenment values of rationalism and human rights, they did so in a conservative manner. They respected authority and aspired to be law-abiding citizens. The rights of the individual must be harmonized with the need to promote an integral social community. There is a sense of beneficent barriers and limits in the Swiss world view, be they social, political, or geographical. The most enthusiastic glorification of the utopian land surrounding Lac Léman was François Vernes's bucolic prose epic La Franciade (1789). He describes this area as the cradle of civilization, the locus of the Golden Age, and the model for the future of human society. In a later work, inspired by Sterne, Le voyageur sentimental en France sous Robespierre (1799), he decries the horrors of the Revolution and depicts violent and conflict-ridden France as a contrasting mirror image of her peaceful and harmonious neighbor. Madame de Charrière took a more critical approach in her novels. She showed that human relations, especially for women, are as difficult and complex in Switzerland as anywhere else. An interesting chapter is devoted to personal memoirs that were never published and are being discovered in archives and libraries. Although there is an increasing sensitivity to human emotion in these texts as the century progresses, these reminiscences usually express a sense of the individual as a member of a community. Their authors also display a growing consciousness of themselves as artists creating an aesthetic object distinct from themselves. As Rosset indicates, his study is an excellent demonstration of what Madame de Staël says in De la littérature (1800) about the determining influence of a nation's political and religious institutions on its culture and literature. [End Page 218] James P. Gilroy University of Denver (CO) Copyright © 2019 American Association of Teachers of French

Deutschsprachige Kinder- und Jugendliteratur während der Zwischenkriegszeit und im Exil: Schwerpunkt Österreich ed. by Susanne Blumesberger, Jörg Thunecke

Reviewed by: Deutschsprachige Kinder- und Jugendliteratur während der Zwischenkriegszeit und im Exil: Schwerpunkt Österreich ed. by Susanne Blumesberger, Jörg Thunecke Kirsten A. Krick-Aigner Susanne Blumesberger and Jörg Thunecke, eds., Deutschsprachige Kinder- und Jugendliteratur während der Zwischenkriegszeit und im Exil: Schwerpunkt Österreich. Frankfurt: Peter Lang, 2017. 344 pp. English-speaking readers today may not be aware that Walt Disney’s celebrated 1942 animated film Bambi was based on Bambis Kinder, written 1938 by the forcibly exiled Austrian Felix Salten, or that popular 1930s U.S. proletarian children’s books were translations of works by the Austrian Hermynia von [End Page 143] Mühlen. This volume on German-speaking children’s and young adult (YA) literature written between the world wars and in the postwar period, focuses on these aforementioned and other underrepresented works and fills a much-needed void in scholarship. The articles are the result of a 2014 conference in Vienna led by the editors Susanne Blumesberger and Jörg Thunecke. This edition follows Blumesberger’s 2014 two-volume reference book on children’s and YA literature by Austrian women authors. The volume at hand is comprised of fourteen articles in German that are grouped thematically, ranging from socialist and worker’s literature, both in Austria and the United States, to propaganda and exile literature. At times the organizational structure is problematic as the grouping of the articles sometimes disrupts the flow of the overarching themes, but this does not take away from the fact that each article is in itself timely and engaging. Very helpful to international readers and those seeking specific information in the volume is each article’s introductory abstract in English. The framework of the volume provides readers and scholars with contextual information regarding children’s and YA literature, revealing not only the relevance of this body of literature today but also the need for further research on its authors and themes, especially on underrepresented and still unidentified texts written and published in exile, either in German or in a language of exile. The contributions highlight biographies, text analyses, the personal and professional situations of the authors, and, finally, the challenges of the publication, distribution, and reception of the works. The editors observe discussion points raised in the articles, highlighting especially how the political situation of this period affected the literary production in German-speaking regions, especially in Austria. While each article offers up new readings of texts and reintroduces lesserknown authors, articles also illustrate the texts’ import for readers today. In the opening article, Wiebke von Bernstorff states that reading children’s and YA literature through the lens of Bertolt Brecht’s “alienation effect,” an idea developed through Brecht’s own experiences under National Socialism and in exile, allows for a more didactic approach to the texts that reaches beyond the readers’ initial reaction of empathy. Von Bernstorff positions her analysis between the historicity of the texts and their timeliness, citing that the texts were written as a reaction to World War II and fascism and can therefore provide insight into contemporary social and political issues. The topic of exile is highly relevant to readers today, as a means of gaining intercultural knowledge [End Page 144] and providing insight into the refugee crisis in Europe and elsewhere. Von Bernstorff examines the aesthetics of the literary texts rather than their political intent, as identified in earlier research on children’s and YA literature in exile. Articles on the Socialist Party’s political texts for children, written in the “Red Vienna” between 1920 and 1934, highlight works such as the 1927 Kasperl sucht den Weihnachtsmann (Kasperl searches for Santa Claus) by Anton Afritsch, which warns of the perils of capitalism while revealing that Santa is a myth, and the 1930 Die verwünschte Fabrik (The cursed factory) by Alois Jalkotzy. Jörg Thunecke follows suit with an analysis of von Mühlen’s texts for children that were translated into English and published in the United Statesas Fairy Tales for Workers’ Children (1922), which aimed to combat social inequities and injustice while countering war through coexistence. While Murray G. Hall discusses the militarization of boys through propaganda literature of the early 1930s...

Gender Gaps in the Evaluation of Research: Evidence from Submissions to Economics Conferences

We study gender differences in the evaluation of submissions to economics conferences. Using data from the Annual Congress of the European Economic Association (2015-2017), the Annual Meeting of the Spanish Economic Association (2012-2017), and the Spring Meeting of Young Economists (2017), we find that all-female-authored papers are 3.3 p.p. (6.8%) less likely to be accepted than all-male-authored papers. This gap is present after controlling for number of authors of the paper; referee fixed effects; field; cites of the paper; authors’ previous publication record, affiliations, and experience; and connections between the authors of a given paper and the referees that evaluate it. We provide evidence suggesting that the gap is driven by stereotypes against female authors: it is entirely driven by male referees, only exists for lesser-known authors, and seems larger in more masculine fields, especially in finance.

Haunting Realities: Naturalist Gothic and American Realism

Haunting Realities: Naturalist Gothic and American Realism

Espionage in British Fiction and Film since 1900: The Changing Enemy by Oliver S. Buckton, Espionage and Exile: Fascism and Anti-fascism in British Spy Fiction and Film by Phyllis Lassner

Espionage in British Fiction and Film since 1900: The Changing Enemy by Oliver S. Buckton, Espionage and Exile: Fascism and Anti-fascism in British Spy Fiction and Film by Phyllis Lassner

Patterns of Modernity in Transnational Perspective

Patterns of Modernity in Transnational Perspective Elisa Camiscioli and Jean H. Quataert This issue explores the transnational networks and cultural forces shaping key components of modern women's politics and subjectivity at the end of the long nineteenth century and in 1970s America. It opens with two complementary studies about advocacy of women's sexual freedom and identity. The next two articles address expanding opportunities for women through missionary education and nursing training. The final two are on women's political activism and mobilization in ideological struggles. We also have a new component in our book review section, an essay which compares three digital humanities' collections on the history of women's suffrage in the global context. Broadcasting individual women's sexual desire was a decisively brazen act in the later nineteenth-century Anglophone world—and in East Asia as well. In time, it became an attribute of modern women's identity and a central component of "erotic romantic love." The first two articles explore the cultural politics that surrounded the advocacy of heterosexual intimacy through the life work of two notorious public women whose careers tangentially overlapped. Their self-crafted prominence demonstrates a changing landscape for gender norms in predominantly urban bohemian neighborhoods. Richly sourced and engagingly written, Hilary Hallett's article examines the British author Elinor Glyn, who took her "sex novel" Three Weeks (1907) on tour throughout America in the first decade of the twentieth century. Hallett argues for an "alternative feminist historiography" found in "women's performances" by popular but lesser-known authors. Their celebrity status and cultural glamour "not only challenged orthodoxy" but "shaped popular knowledge," Hallett writes. The author makes a strong case that Glyn capitalized on inherent ambivalences in scandalous talk both to challenge and deny new ideas about respectable married women's sexuality. In this way, she pushed discussion in the mainstream culture to deal more "frankly" and openly with such topics as eroticism, dating, premarital sex, and romantic love. Before the 1920s, Glyn helped make women's heterosexual satisfaction "a subject for mass culture." She was indeed "a mother to the modern girl." Perhaps unsurprisingly, America's "Queen of the Anarchists," Emma Goldman, was a fan of Glyn, calling Glyn's fictional heroine's rejection of monogamy "magnificent," according to Hallett. The importance of sexual liberation to human liberation in "anarchist communist" philosophy takes center stage in the next article on Emma Goldman by Rachel Hui-Chi Hsu. Emma Goldman, of course, is well known in women's history as a tireless [End Page 7] proponent of free love, birth control, and free speech. But Hsu makes new contributions to this literature by addressing the underlying logic of Goldman's philosophy, what Hsu calls her "sexual political reasoning." Goldman integrated European sexology into anarchist thinking to lay bare the political implications of liberated intimacies. Hsu carefully parses the differences between reformers and radicals in the Progressive Era, comparing anarchist thought to progressive feminists' gender assumptions and to those advocating birth control (with its slippage into eugenics). Like Glyn, Goldman also crafted her public persona. She, too, took her message on tour, seeking out new supporters for her philosophy of life, notably the young urban intellectuals, and capitalizing on a "tide of . . . iconoclastic bohemianism." And, through the translation and circulation of her magazine Mother Earth, this commitment to individualism as a "powerful defiance of traditional gender norms" accounted for Goldman's popularity in China and Japan. There was a downside to all this success, however: it diluted the essential socioeconomic and anti-authoritarian messages of anarchism. The next two articles, temporally extending into the first half of the twentieth century, explore other aspects of modern women's increasingly shared life experiences: expanding educational and professional opportunities. But each option was mediated by countervailing cultural and political forces that complicated the workings of the modern. Amy Holmes-Tagchungdarpa takes us to several educational institutions in the Himalayan borderlands of British India accessible to elite women of Tibet, Bhutan, and Sikkim. Reflecting the growing importance of this area for global commerce, trade long had served as a transnational linkage between the different cultures, polities, and languages of the area. Elite families used the new...

Spanish Women Travelers at Home and Abroad, 1850-1920: From Tierra del Fuego to the Land of the Midnight Sun by Jennifer Jenkins Wood (review)

Reviewed by: Spanish Women Travelers at Home and Abroad, 1850-1920: From Tierra del Fuego to the Land of the Midnight Sun by Jennifer Jenkins Wood Christine Arkinstall Jenkins Wood, Jennifer. Spanish Women Travelers at Home and Abroad, 1850-1920: From Tierra del Fuego to the Land of the Midnight Sun. Plymouth: Bucknell UP, 2014. 411 pp. Jennifer Jenkins Wood’s book on female Spanish travel writers delivers fascinating and accessible windows on the lives, experiences and ethos of eleven figures who ventured beyond Spain and Europe from 1850 and into the twentieth century. The study not only offers unaccustomed perspectives on canonical writers like Cecilia Böhl de Faber, Carolina Coronado, Emilia Pardo Bazán and Carmen de Burgos but also encompasses lesser-known authors. The inclusion of two princesses, a baroness and a Concepcionist sister adds breadth and interest to this thoroughly satisfying read. One of the volume’s great strengths is Jenkins Wood’s decision to offer lengthy excerpts from the travel accounts in English translation, thus opening up the terrain of female Spanish travel writing to a wider public. Each chapter follows a similar format: biographical details are effectively interwoven with contextual matters to lead into probing analyses of selected pieces. The result is a flowing, elegant and theoretically polished contribution to not only Hispanic scholarship but also female travel writing and gender studies. Two excellent chapters frame the study. The first introduces the history of Spanish female travelers and the writers’ sociohistorical contexts, outlining the obstacles that impeded women’s access to an equal education and employment and travel opportunities. The second offers an overview of the gendered principles at stake in travel writing, drawing on contemporary feminist theories to complicate women’s access to and perception of travel, and their discursive strategies for authorizing the knowledge acquired through travel. The lens through which Jenkins Wood approaches Cecilia Böhl de Faber (Fernán Caballero) is travel as therapy for emotional challenges. The focus is on the four articles in epistolary form that arose from the writer’s tour to London and various European countries in the second half of 1836, following her second spouse’s demise. These, Jenkins Wood argues, manifest a keen awareness of Romantic tropes, especially those allied with the feminine such as emotion, and the presentation of a “feminine gaze” through recourse to the picturesque (49). Carolina Coronado’s travels to Seville and Cádiz (1847-48) to recover from a broken heart inspired poems modelled on the Romantic poetic travel book that reveal elements of the masculine-coded sublime. However, it is her commissioned articles on her 1851 travels through France, England, Belgium and Germany [End Page 193] that constitute the core of this chapter. Jenkins Wood argues that Coronado uses the letter to mold a flexible narrative persona that intersperses more feminine descriptions with feminist and political statements and an impassioned defense of Spanish culture. Acclaimed as a writer of fiction, Emilia Pardo Bazán was also a prolific travel writer on Spain and Europe. Identifying as a cultured traveler rather than an indiscriminate tourist, Pardo Bazán crafted in situ impressionistic, accessible accounts that usually first saw the light as newspaper articles before appearing as books. Of these, Jenkins Wood addresses six published between 1888 and 1902. The Paris World Expositions of 1889 and 1900 figure in two, highlighting Pardo Bazán’s concern, as a member of the 1898 “Generation,” with Spain’s backwardness and its need to Europeanize. Another volume, Por la Europa católica, posits Catholic Belgium as a model for Spain’s regeneration, while others exhibit her search for a Spanish essence rooted in natural beauty and traditions. Although Pardo Bazán and Rosario de Acuña were almost exact contemporaries, Acuña’s freethinking beliefs resulted in her exclusion from mainstream cultural histories. Jenkins Wood’s study draws welcome attention to this significant intellectual, whose adventurous travels through remote regions of Spain are captured in many pieces. Concentrating on just two, Acuña’s 1875 “Correspondencia de Andalucía” and her Dedication to her 1891 play, El Padre Juan, Jenkins Wood examines her deployment of the picturesque and sublime to negotiate a position...