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Article

Betsy Dahms

Born in the lower Rio Grande Valley of South Texas, Gloria Evangelina Anzaldúa (1942–2004) was a prolific writer, scholar, and activist. Her corpus of work includes essays, books, edited volumes, children’s literature, and fiction/autohistorias. Anzaldúa’s life and writing are at the forefront of critical theory as it interacts with feminism, Latinx literature, spirituality, spiritual activism, queer theory, and expansive ideas of queerness and articulations of alternative, non-Western epistemologies and ontologies. The geographical proximity to the US–Mexican border figures prominently throughout in her work, as does her theorization of metaphorical borderlands and liminal spaces. Her oft-cited text Borderlands/La Frontera: The New Mestiza is included in many university courses’ reading lists for its contributions to discourses of hybridity, linguistics, intersectionality, and women of color feminism, among others. Anzaldúa began work on her more well-known theories prior to the publication of Borderlands/La Frontera and continued to develop these theories in her post-Borderlands/La Frontera writing, both published and unpublished. After her sudden death due to complications of diabetes in 2004, Anzaldúa’s literary estate was housed in the Nettie Lee Benson Latin American Collection at the University of Texas, Austin in 2005.

Article

Asian American literary studies, and multi-ethnic literatures more broadly, have maintained a constant faith in the power of literature as a potential tool of anti-racist education. This faith in literature’s potential is not naïve, since it also recognizes how even the most diverse and ideal literary education can be co-opted by the workings of capitalism and neoliberalism. These fields are founded in an enduring and powerful belief that literature affects the social, cultural, and political esteem of a minority group in the United States. Within the field of Asian American studies, academics, activists, and cultural critics have sought to harness the power of various forms of cultural discourse and literature by mediating the stories told about (and at times by) Asian Americans. As Asian American literature has grown in popularity, there has been increasing attention to questions of who is represented within Asian American literature and who is deemed worthy to produce these representations. Such concerns have over time produced an abiding if somewhat tacit interest in questions of literary reception in the field. In fact, although many of the major literary controversies in Asian American studies have circulated around questions of representation and reception and ushered in paradigm shifts in how the field has conceptualized itself, it is an area that remains understudied. Asian American literary reception study and studies of readership are still emerging and crucial areas of analysis that could pose and posit answers to questions of literature’s possibilities and limitations as a tool of anti-racism in 21st-century America.

Article

Peter Uwe Hohendahl

As early as 1916, Carl Schmitt underscored the centrality of myth and religion in his analysis of the expressionist Theodor Däubler. He celebrated Däubler as a Christian poet and radical critic of modernity. This critique of modernity was then articulated in more systematic terms his 1919 essay Political Romanticism, which opposed the Romantic approach to life and art as ironic escapism and relativism. During the 1920s and 1930s, a personal search for new ground led Schmitt to the Catholic author Konrad Weiss, and subsequently to Herman Melville’s story Benito Cereno as a private allegory of Carl Schmitt as persecuted intellectual. His late literary criticism focused on William Shakespeare’s Hamlet. His interpretation emphasizes the tragic nature of the play, explicitly taking issue with Walter Benjamin’s reading of Hamlet as a Christian Trauerspiel (mourning play). For Schmitt, the central issue is the presence of contemporary history as a force that deeply impacts the drama. This argument is directed against the notion of play and the idea of aesthetic autonomy. Instead, for Schmitt, the older concept of representation defines the place and relevance of art and the aesthetic within a broader cultural and religious configuration.

Article

Anna Poletti

This entry develops a definition of literature as an identity technology by bringing together theories of identity formation as a process of identification and introjection, with thinking about reading as a materially grounded process in which readers encounter identities in the form of characters and narrators. The essay critically situates the terms “identity” and “technology” in the study of literature, media, and culture in order to argue that at the linguistic, symbolic, and material level, literature can be used as a means for inscribing and reinscribing identity at the individual and collective level. Drawing on ways of reading literature from autobiography studies and queer theory, this article is about how to read and think about literature as a mechanism through which identity is formed, negotiated and renegotiated, inscribed, and made public. The case studies utilized in this entry are the opening and closing essays of Eve Kosofsky Sedgwick’s important work of literary theory, Tendencies. Sedgwick’s theorization and enactment of reading as a generative, queer practice is brought together with a close reading of her reflections on her own identity and the variety of techniques she uses to situate to her reader to elucidate the utility of thinking literature as a technology used in the ongoing work of identity.

Article

Since 1990, “life writing” has become a frequently used covering term for the familiar genres of biography, autobiography, memoir, diaries, letters, and many other forms of life narrative. Initially adopted as a critical intervention informed by post-structuralist, postmodernist, postcolonial, and especially feminist theory of the 1970s and 1980s, the term also refers to the study of life representation beyond the traditional literary and historical focus on verbal texts, encompassing not only other media—film, graphic narratives, online technologies, performance—but also research in other disciplines—psychology, anthropology, ethnic and Indigenous studies, political science, sociology, education, medicine, and any other field that records, observes, or evaluates lives. While many critics and theorists still place their work within the realms of autobiography or biography, and others find life writing as a discipline either too ideologically driven, or still too confining conceptually, there is no question that life representation, primarily through narrative, is an important consideration for scholars engaged in virtually any field dealing with the nature and actions of human beings, or anything that lives.

Article

Baylee Brits

Mathesis universalis is perhaps the ultimate formal system. The fact that the concept ties together truth, possibility, and formalism marks it as one of the most important concepts in Western modernity. “Mathesis” is Greek (μάθησις) for “learning” or “science.” The term is sometimes used to simply mean “mathematics”; the planet Mathesis, for instance, is named after the discipline of mathematics. It is philosophically significant when rendered as “mathesis universalis,” combining a Latinized version of the Greek μάθησις (learning) with the Latin universalis (universal). The most significant modern philosophers to develop the term were René Descartes (1596–1650) and Gottfried Leibniz (1646–1716), who used it to name a formal system that could support a project of scientia generalis (Descartes) or the ars combinatoria (Leibniz). In each case, mathesis universalis is a universal method. In this sense it does not constitute the content of the sciences but provides the formal system that undergirds no less than the acquisition and veracity of knowledge itself. Although mathesis universalis is only rarely mentioned in the literature of Descartes and Leibniz, philosophers including Edmund Husserl, Ernst Cassirer, and Martin Heidegger considered it one of the key traits of modernity, breaking with the era of substance (Rabouin) or resemblance (Foucault) to signal a new period defined by formalism and quantification. Thus, in the 20th century, the scant and often contradictory literature on mathesis actually produced by the great philosophers of the Enlightenment comes to take on an importance that far exceeds the term’s original level of systematic elaboration. The term mathesis universalis was rarely used by either Descartes or Leibniz, and the latter used many different terms to refer to the same concept. The complexity and subtlety of the term, combined with difficulties in establishing a rigorous systematic interpretation, has meant that mathesis universalis is often used vaguely or to encompass all scientific method. It is a difficult concept to account for, because although many philosophers and literary theorists will casually refer to it, often in its abbreviated form (Lacan references mathesis in opposition to poesis to contrast the procedures of the sciences and the arts, for instance), there is not a great deal of consistent theoretical elaboration of the term in literary and cultural theory. Although mathesis universalis is not simply an avatar of mathematics, it is difficult to establish exactly where maths ends and mathesis begins, so to speak. The distinction is murky in both Descartes’s and Leibniz’s work, and this ambiguity would become a key controversy surrounding the term in the 20th century, with Bertrand Russell arguing that the significance of symbolic logic to mathesis universalis prevented it from being a “premier” science. Along with Russell, Ernst Cassirer and Louis Couturat would contest the relation between symbolic logic and the symbolic algebra of mathesis universalis, providing the terms of the debate for 20th-century philosophical work on ontology. Mathesis universalis was also a source of debate and controversy in the 20th century because it provided a node from which to examine the status of scientific truth. It is the work of 20th-century philosophers that expanded the significance of the term, using it to exemplify aspects of Enlightenment thought that many philosophers wished to react against, namely the aspiration to a universal science and the privileging of formal systems as avenues to truth. In this respect, the term is associated with Edmund Husserl, Martin Heidegger, and especially Michel Foucault, whose extensive work on the “classical episteme” provided a popular method of characterizing the development and enduring features of Enlightenment science. Although Foucault’s rendering of mathesis universalis as a “science of calculation” in The Order of Things (1970) is the most commonly used definition in literary and cultural studies, debates centering on Leibniz’s work in the early 20th century suggest that critics still took divergent approaches to the definition and significance of the term. It is Foucault who has popularized the contraction of the term to “mathesis.”

Article

Frederick Luis Aldama

Discussions and debates in and around the formation of Mexican American letters, including its periodization and formulations of its unique ontology, are reviewed, and discussions and analysis of key literary phenomena that have shaped in time (history) and space (region) Mexican American and Chicana/o letters are presented. Foundational scholars such as María Herrera-Sobek, Luis Leal, José Limón, and Juan Bruce-Novoa are considered along with scholar-creators such as Gloria Anzaldúa and Cherríe Moraga. A wide variety of Mexican American and Chicana/o authors of fiction, poetry, and nonfiction are reviewed, including Alurista, María Amparo Ruiz de Burton, Marío Suárez, Arturo Islas, Richard Rodriguez, and Ana Castillo, among many others.

Article

Prose  

Garrett Stewart

Prose is a fabrication, not a linguistic axiom. It has a complex history well before its intricate literary genealogy. Made, not given, prose comes down to modern use with the form, formally determined, of a world-historical invention. As culturally significant in its evolutionary advent as in its ramified means of reporting event, prose thus bears with it a biography as telling as the fictional narratives it eventually serves to recount. Born of empiricism and print culture, prose is neither neutered poetry nor transcribed speech. Only its immediate ancestry is oratorical. Nonetheless, when “modern prose” is launched by leaving embellished declamatory models behind for the reign, first of epistemological lucidity, later of verisimilitude in narrative fiction, the oral is not thereby cancelled entirely. For prose, not unlike poetry, makes—and shapes—its way by incorporating the subvocal underlay of alphabetic (hence phonemic) language into the rhythms of its evoked readerly enunciation. It is in this fashion, by tapping its own linguistic platform or substrate, that prose comes to seem, more than otherwise, a medium rather than just one among several contested rhetorical means. Long after the modified or overthrown “plain style” taken up by early fiction like that of Daniel Defoe or Jonathan Swift, prose’s developing tendency to recover language’s silent phonetic resonance anticipates, in turn, one major Victorian inheritance from the complexities of Romantic verse sonority: a legacy that renders, ever afterward, the idea of “prose poetics” anything but an oxymoron. Here, too, is where the idea of “style” persists as an ongoing flashpoint for literary response. From Charles Dickens and Herman Melville to Joseph Conrad, for instance, we hear the potential sounding of theme in the depth charges of fictional prose. At the same time, from Jane Austen to Virginia Woolf, we can track an alternate mode of deflected orality in the “free indirect discourse” of surfaced inner speech—not overheard talk, these elicited mental monologues, but their own kind of artificial and subliminal eavesdropping—as they channel the cadences of represented psychology. Channel: in precisely that sense of a medium by which prose can best be understood and studied, both in the ecology of modern literary communication and in its reframing by media theory.

Article

Satire  

Emmett Stinson

Although scholars generally agree that satire cannot be defined in a categorical or exhaustive way, there is a consensus regarding its major features: satire is a mode, rather than a genre; it attacks historically specific targets, who are real; it is an intentional and purposeful literary form; its targets deserve ridicule on the basis of their behavior; and satire is both humorous and critical by its nature. The specificity and negativity of satire are what separates it from comedy, which tends to ridicule general types of people in ways that are ultimately redemptive. Satire is also rhetorically complex, and its critiques have a convoluted or indirect relation to the views of the author. Satire’s long history, which is not straightforwardly linear, means that it is impossible to catalogue all of the views on it from antiquity through to modernity. Modern criticism on satire, however, is easier to summarize and has often made use of ancient satirical traditions for its own purposes—especially because many early modern theorists of satire were also satirists. In particular, modern satire has generated an internal dichotomy between a rhetorical tradition of satire associated with Juvenal, and an ethical tradition associated with Horace. Most criticism of satire from the 20th century onward repeats and re-inscribes this binary in various ways. The Yale school of critics applied key insights from the New Critics to offer a rhetorical approach to satire. The Chicago school focused on the historical nature of satirical references but still presented a broadly formalist account of satire. Early 21st century criticism has moved between a rhetorical approach inflected by poststructural theory and a historicism grounded in archival research, empiricism, and period studies. Both of these approaches, however, have continued to internally reproduce a division between satire’s aesthetic qualities and its ethical or instrumental qualities. Finally, there is also a tradition of Menippean satire that differs markedly in character from traditional satire studies. While criticism of Menippean satire tends to foreground the aesthetic potential of satire over and above ethics, it also often focuses on many works that are arguably not really satirical in nature.

Article

The field of Latina/o/x studies has long been interested in various forms of gender and sexual deviance and diversity as a site of inquiry. Yet, there are many gaps in the literature of the field when it comes to the study of trans subjectivities, politics, and cultural formations. Foundational theoretical works such as Sandy Stone’s “A Posttransexual Manifesto” (1991) and Gloria Anzaldúa’s Borderlands (1987) share a theoretical approach to understanding autoethnographic texts that propose to write minoritarian subjects into discourse. The result of the two works is the emergence of the “new mestiza” and the “posttranssexual,” two figures that come to shape the fields of transgender, Chicana/o/x, and Latinx studies, respectively. There are myriad ways in which the fields of transgender studies and Latinx studies overlap and depart from each other. Most often, transgender studies is characterized as not grappling directly with race, colonialism, and imperialism, while Latina/o/x studies can at times be read as treating transgender subjects as objects, or sites of inquiry. Therefore, there is much to be gleaned from exploring how the two fields might come into contact with each other, as each becomes increasingly institutionalized.

Article

Vietnamese Canadian refugee aesthetics are the diverse expressions of how hundreds of thousands of refugees and their descendants experienced the Vietnam War and its aftermath. They are shaped on the one hand by a history of war in, and forced migration from, Vietnam and on the other by resettlement in multicultural Canada. Significantly, Vietnamese Canadian refugee aesthetics are produced within a distinct context of Canadian “forgetting of complicity” in the Vietnam War. A major shaping force of this aesthetics is the idea that Canada was an innocent bystander or facilitator of peace during the war years, instead of a complicit participant providing arms and supporting a Western bloc victory. This allows, then, for a discourse of Canadian humanitarianism to emerge as Canada resettled refugees in the war’s wake. Vietnamese Canadian refugee aesthetics are produced and received in relation to the enduring narrative of Canadian benevolence. In this way, they celebrate the nation-state and its peoples through gratitude for the gift of refuge. More importantly, however, they illuminate life during and in the wake of war; the personal, political, and historical reasons for migration; the struggles and triumphs of resettlement; and the complexities of diasporic existence. Refugee aesthetics are driven by memory and the desire to commemorate, communicate, and make sense of difficult pasts and the embodied present. They often take the form of literary works such as memoirs, novels, and poetry, but they are also found in community politics and activism, such as commemoration events and protests, and other popular media like public service videos. Produced by refugees as well as the state, these aesthetic “texts” index themes and problematics such as the formation of voice; the interplay between memory, history, and identity; the role of autobiography; and the modes of representing war, violence, and refuge-seeking.

Article

Walter Benjamin (1892–1940) was situated among a constellation of early-20th-century radical Jewish thinkers delving into questions of German culture and philosophy in Mitteleuropa. Within this Jewish Central European radical culture, a complex network of links, of “elective affinities,” as Johann Wolfgang Goethe called them, brought together romanticism, Jewish messianism, anti-bourgeois cultural rebellion, and revolutionary (socialist and anarchist) utopias. This messianism is not the one of Jewish orthodoxy but a new, highly political version, seen through the lens of German romanticism. Benjamin should thus be viewed as a religious atheist with anarchist leanings, who only discovers Marxism in the mid-1920s, following the lectures of Georg Lukacs’s that were published as History and Class Consciousness in 1923. He became the first Marxist to break radically with the ideology of progress. Benjamin’s thinking has a distinct critical quality that sets his apart from the dominant and official forms of historical materialism and gives him a formidable political and intellectual superiority as a Marxist critic. This philosophical peculiarity comes from his ability to incorporate into the body of Marxist revolutionary theory insights from Jewish messianism and from the German Romantic critique of modern civilization.