Is there something to be said for looking at Facebook as one of a long genealogy of modes of reader/viewer identification?
The Spenser Review has run an issue remembering Paul Alpers, who sadly passed away last May, and I am one of the six contributors. I have a great fear (I hope I’m wrong) that Alpers is not so well known to those new to the profession of criticism. He was a giant, and is very much missed.
I like to think of John McCrae's "In Flanders Fields" as the $400,000,000 poem, and not just because its first stanza has appeared on the back of the Canadian $10 bank note—a fact that, all by itself, makes McCrae's World War I-era verse one of the most widely circulated poems in history.
Reaction to the roll-out of healthcare.gov has taken many predictable forms, among them the false equation whereby Grand Tech Failure = Evidence of the Unconstitutionality of the Affordable Care Act itself.
Plays have to end, but no one so well as Shakespeare understood how to use them to offer the hospitality of time, the interim of friendship.
Generalizations about late style suffer from the same limitations as contemporary narratives of aging because of their shared, reductive rhetoric of progress, peak, and decline.
How is indigenous land management at contact studied? And how does this affect our understanding of contemporary land and heritage management?
Lou Reed cared about art long after he could have stopped caring. Art is what drove him and fueled his work, what inspired him and made him so inspiring. And in this cultural moment where fame and page views often trump all other claims to attention, that is huge.
Staying Alive, from its title on, is a refreshing—and radical—perspective on the "crises of the humanities."
Arash Beidollahkhani, a Ph.D. candidate in Political Science at the University of Tehran, connects the Arab Spring to Occupy and other protests globally.
Why do female artists portray themselves, or allow themselves to be portrayed, as old?
The mark that Frank’s legacy left on the study of Russian literature and culture in the larger Euro-American context is deep and indelible.
Stories of voyage are also stories of loss; this is why the Old English poem The Seafarer feels elegiac. In a column for The Nation, Joshua Clover considers (through allusions to The Seafarer) what kinds of losses the current crop of voyage movies are marking.
What can Renaissance-era automata and garden water pranks tell us about early modern notions of animation and consciousness?
Thoughts on Edgar A. Guest, the Economics of American Poetry, and the Blind Spots of Modern Poetry Studies.
It's hard to watch Sofia Coppola's 2013 The Bling Ring, which came out on DVD about a month ago, without feeling like you're at the end of a chain of recycled celebrity worship.
We live in a time when every day brings ample evidence of the disposability of human life.
The January 2013 issue of PMLA has a pretty cool article ("Whitman's Children") by Bowdoin College English Professor Peter Coviello that takes as its starting point a couple of babies born after the U.S. Civil War that were named Walt—a nominal tribute that two veterans paid to Walt Whitman after receiving Whitman's care during the war.
I first met Kofi Awoonor as an excitable 17-year-old high school student then in the Sixth Form.
A historical traveler’s report on a strange imaginary land—one that had few of the distinctive marks by which we usually identify a state.
Rev explores how memories of atrocities are closely connected with traumatic silence, as well as the theory of how trauma can be passed onto others by listening, making trauma an intergenerational experience.
The MOOC era has dawned with a rush of utopian and dystopian bombast, much of which is bound to be wrong.
Who me, listen to audio books? That was my attitude until recently, a prejudice of my profession that literature is better read than heard. But on a solo road trip this summer I took along the ten-disk set of Marc Twain’s The Adventures of Huckleberry Finn for the ride.