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Literature and International Copyright after the Berne Convention (1886)  

Sanna Nyqvist

The gradual development of national copyright laws during the 18th and 19th centuries resulted in quite different and culture-specific understandings of the nature and scope of protection provided for literary and artistic works. The lack of international standards of regulation meant that literary works could be freely reprinted, translated, and appropriated abroad. As a result of the increasing internationalization of literature, bestselling authors of the 19th century began to call for a universal copyright. Their activism proved an important catalyst of the first international copyright treaty, the Berne Convention, signed in 1886 by ten nations. The Berne Convention has since been revised many times and is currently ratified by over 170 signatories. In its current form, it grants relatively strong rights to authors who produce works that can be categorized as “originals.” It determines the minimum standards of protection which bind the national legislation of its member states, for instance by setting the minimum length of copyright protection at fifty years from the death of the author. The development of international copyright agreements since the latter half of the 20th century has resulted in a network of mutually reinforcing treaties and an increased awareness and control of copyrights on a global scale. At the same time, such treaties and the national laws they govern can offer only partial solutions to the multiple conflicts of interest relating to the uses of literary works beyond their countries of origin. The main concerns of the 19th-century authors who lobbied for universal copyright are still relevant today, albeit in somewhat different forms. With the advances of technology that allow for effortless storing and distribution of works in digital form, and given the economic gap between content-producing industrialized countries and the less-developed countries that use that content, book piracy still exists and is often a symptom of a dysfunctional or exclusive local market environment. In addition to the abolition of piracy, another core concern for the Berne Convention was the regulation of translation rights. The treaty divides the copyright in translated works between authors of originals and translators, which challenges the notion of originality as the criterion for protection since translations are by necessity derivative. The division of authors into two groups meriting different types of protection is further complicated by the rise of the so-called “born-translated literature” which effectively blurs the distinction between originals and translations. The international framework of copyright has harmonized many aspects of copyright, yet left others unregulated: appropriations, such as parody, have proven problematic in an international setting due to differences in how national laws justify the existence of derivative and transformative works. International copyright thus remains an oxymoron: it is promulgated in and through national laws, and the disputes are settled in national courts although literature, especially translated literature, has multiple countries of origin and is increasingly distributed by international booksellers to a potentially global audience.


Literature and Science  

Michael H. Whitworth

Though “literature and science” has denoted many distinct cultural debates and critical practices, the historicist investigation of literary-scientific relations is of particular interest because of its ambivalence toward theorization. Some accounts have suggested that the work of Bruno Latour supplies a necessary theoretical framework. An examination of the history of critical practice demonstrates that many concepts presently attributed to or associated with Latour have been longer established in the field. Early critical work, exemplified by Marjorie Hope Nicolson, tended to focus one-sidedly on the impact of science on literature. Later work, drawing on Thomas Kuhn’s idea of paradigm shifts, and on Mary Hesse’s and Max Black’s work on metaphor and analogy in science, identified the scope for a cultural influence on science. It was further bolstered by the “strong program” in the sociology of scientific knowledge, especially the work of Barry Barnes and David Bloor. It found ways of reading scientific texts for the traces of the cultural, and literary texts for traces of science; the method is implicitly modeled on psychoanalysis. Bruno Latour’s accounts of literary inscription, black boxing, and the problem of explanation have precedents in the critical practices of critics in the field of literature and science from the 1980s onward.


The Love of Literature  

Deidre Lynch

The notion that theoretical inquiry and the love of literature are at odds is a tenacious one, likewise the related account of the theorist as heartless killjoy. This article, however, challenges the notion that theory is necessarily down on love. It surveys the several strains of theory that since the turn of the 21st century have made it possible for practitioners of theory to acknowledge more readily that concept-driven intellectual work inevitably has an affective undertow. But it also looks further back, to the late 18th-century origins of the literary studies discipline, so as to understand why the love question cannot be confined to the sphere of amateurism but instead hovers persistently around what literature professors do in their classrooms: what does that persistence say about the place of ethical and affective norms in the discipline’s intellectual enterprise? And just why and how does aesthetic receptivity get defined as “love” in the first place?


Lyric Poetry and Poetics  

Daniel Tiffany

Lyric poetry is an ancient genre, enduring to the present day, but it is not continuous in its longevity. What happens to lyric poetry and how it changes during its numerous and sometimes lengthy periods of historical eclipse (such as the 18th century) may be as important to our understanding of lyric as an assessment of its periods of high achievement. For it is during these periods of relative obscurity that lyric enters into complex relations with other genres of poetry and prose, affirming the general thesis that all genres are relational and porous. The question of whether any particular properties of lyric poetry endure throughout its 2,700-year checkered history can be addressed by examining its basic powers: its forms; its figurative and narrative functions; and its styles and diction. The hierarchy of these functions is mutable, as one finds in today’s rift between a scholarly revival of formalist analysis and the increasing emphasis on diction in contemporary poetry. As a way of assessing lyric poetry’s basic operations, the present article surveys the ongoing tension between form and diction by sketching a critique of the tenets of New Formalism in literary studies, especially its presumptions about the relation of poetic form to the external world and its tendency to subject form to close analysis, as if it could yield, like style or diction, detailed knowledge of the world. Long overshadowed by the doctrinal tenets of modernist formalism, the expressive powers of diction occupy a central place in contemporary concerns about identity and social conflict, at the same time that diction (unlike form) is especially susceptible to the vocabularistic methods of “distant reading”—to the computational methods of the digital humanities. The indexical convergence of concreteness and abstraction, expression and rationalism, proximity and distance, in these poetic and scholarly experiments with diction points to precedents in the 18th century, when the emergence of Anglophone poetries in the context of colonialism and the incorporation of vernacular languages into poetic diction (via the ballad revival) intersected with the development of modern lexicography and the establishment of Standard English. The nascent transactions of poetics and positivism through the ontology of diction in the 21st century remind us that poetic diction is always changing but also that the hierarchy of form, figuration, and diction in lyric poetry inevitably shifts over time—a reconfiguration of lyric priorities that helps to shape the premises and methods of literary studies.



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.”



David Trotter

The term “medium” has a long and complicated history. In its most general sense, it originally meant an intermediate agency, instrument, or substance. During the 19th century, it acquired two further common meanings, first as the raw material or mode of expression distinguishing a particular artistic practice, and then, in the sense now prevalent, as a channel of mass communication. For much of its history, literature’s primary medium (or “channel”) has been the printed book, which remains an object of theoretical as well as historical enquiry, often in a comparative context. Since around 1850, the proliferation of technical media—from telegraph and telephone through film, radio, and television to the internet and the mobile phone—has piled comparative context upon comparative context for the study of literature to take into account. From its origins in the 1920s, media theory has tended to reverse engineer an understanding of what a “medium” is and does from its description and analysis of specific material technologies in operation. Its original focus, with film, radio, and television in mind, was on the medium as technical and ideological instrument. However, as material technologies have become ever widespread, sophisticated, and diverse, so their function has begun to resemble that of an intervening agency or substance, rather than that of an instrument.



Monique Rooney

Melodrama is a mixed or transmedial artform that, having migrated from stage to film, television and digital screens, typically combines plastic arts (tableau, mise en scène, filmic close-up, sculptural poses) with performative arts (stage and screen acting, declamation, singing, orchestral or other music). It emerged first in the 18th century when Jean-Jacques Rousseau wrote and composed his “scène lyrique” Pygmalion, a formally innovative and experimental adaptation of the story from Ovid’s Metamorphoses. In the context of the speculative and neoAristotelian ideas that Rousseau contributed to public debate about the significance of imitation or mimesis in the development of language, Rousseau’s foundational melodrama represented the coming-to-life of Pygmalion’s beloved statue, Galatea, as a mimetic scene in which metamorphosis takes place through the statue’s responsiveness to the artist and vice versa. More than simply a theme, imitation is intrinsic to the musical-dramatic and, thus, transmedial structure of the ur-melodrama, through which the alternation of spoken lyric with musical phrasing was intended to draw attention to the mimetic role of vocal accent within the arrangement. This aesthetic structure opened the possibility of representing a diversity of voices on the metropolitan stage and beyond. Since its Enlightenment-era beginnings, the mixed form of melodrama has persisted even as it has been transformed in its itinerary from the 18th century to the early 21st century, transmedially adapting to new modalities and formats as it has moved from stage to print formats and then to film, television, and digital platforms. The transmedial form and reach of melodrama is discernible in latter-day performance and film, in which the mixed form—particularly vocal accent, melody, and gesture—continue to disrupt normative identities and hegemonic systems.


Mexican American (Chicana/o)  

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.



Carol Bakhos

In modern parlance, midrash (Hebrew root drš, “to investigate, seek, search out, examine”) refers to any act of interpretation, but in its strictest and most precise sense it refers to ancient rabbinic biblical interpretation. Midrash is both the process and product of interpretation contained in vast compilations of midrashim (plural) as well as in other rabbinic works such as the Talmud. Compendia of midrashim not only preserve interpretations and teachings but also reveal a curiously postmodern, polysemic approach to scriptural exegesis. These compilations are often categorized according to three (problematic) descriptive binaries: halakhic or aggadic; tannaitic (70–200 ce) or amoraic (200–500 ce); and exegetical or homiletical. Through the midrashic process, the Jewish sages of antiquity made the Bible relevant to their contemporaries, taught moral lessons, told fanciful stories, and developed as well as maintained theological beliefs and ethical codes of behavior. The study of midrash provides a portal into the cultural world of the rabbis of late antiquity; it also serves to highlight their approach to and assumptions about scripture, and their guiding hermeneutical practices and principles. Midrashic interpretation employs a variety of exegetical techniques that are often tightly connected to the language of scripture. In addition to wordplay, the rabbis occasionally use gematria, whereby the arithmetical value of Hebrew letters is used to interpret a word or verse. Intertextuality and the atomicization of scriptural words, phrases, and verses are fundamental characteristics of the midrashic method. Although the term midrash applies specifically to rabbinic biblical interpretation, it is sometimes used more broadly as a synonym for aggadah, which includes rabbinic stories, maxims, and parables. Critical editions of midrashic compilations as well as digital advancements and translations give scholars in cognate fields the necessary tools to understand rabbinic literature and undertake comparative studies.


Minor Literature  

Salah El Moncef

As they developed their theory of minor literature in the mid-1970s, Gilles Deleuze and Félix Guattari created more than a concept of literary criticism. Articulating minor thought as a theoretical mode of engagement that impels the minor author to evolve into an agent of transformative experimentation and collective awareness, Deleuze and Guattari’s Kafka theorizes this radically reassessed function of the writer in terms of marginal subjectivity—the subject position of an “immigrant” whose task is to craft an innovative “minor language” on the margin of the “major language” of mainstream society, along with projecting new visions of diverse collectivities within the traditional nation-state that challenge and transform its identitarian definitions of gender, class, ethnic, cultural, and linguistic “standards.” It is around this paradigmatic conception of the minor subject as perpetual immigrant and “nomadic” other that Gloria Anzaldúa and Kathy Acker develop their own variations on the Deleuze–Guattarian minor mode: narrative presentations of the deterritorialized subjects that inhabit the pluralistic Borderlands (Borderlands/La Frontera) and the transnational Empire (Empire of the Senseless). Seeking to renew standard English in order to develop within it innovative esthetic, social, and global visions, the two authors confront their readers with the experiences of minority existence, endeavoring to develop, through the prototypical narrative agents at the center of their works, emergent modalities of hybrid transnational subjectivity—a new post-statist subject, in sum. By depicting their central narrative agents as transnational nomads confronted with the limitations and potentialities of their minority status, Acker and Anzaldúa engage in highly complex social and ontological explorations of the plural inflections of the minor subject as they are expressed in the hybrid idioms he or she adopts and the sociocultural choices they make. In presenting the reader with narrative agents who dwell on the margin of the general social norm, both authors posit the minor subject as the embodiment of a “borderline” existence in which the Borderlands and the Empire are not conceived as geopolitical spaces but rather as conceptual sites of social experimentation; collective realms governed by a universal desire to supersede all borders, imaginary or geopolitical. A central conclusion emerges from Acker’s and Anzaldúa’s visions of the transnational, hybrid subject and collectivity: the deterritorialized movements of groups and individuals envisioned by both authors are at the heart of the postmodern nomad’s aspirations—an inherently transnational quest for self-fulfillment through which she or he seeks unfamiliar horizons as she or he experiments with various elements of hybridity, allowing him/herself to apprehend the existential conditions of his/her exile as affirmative instruments toward asserting the global in relation to the local and the transnational in relation to the national.


Modern Manuscripts  

Dirk Van Hulle

The study of modern manuscripts to examine writing processes is termed “genetic criticism.” A current trend that is sometimes overdramatized as “the archival turn” is a result of renewed interest in this discipline, which has a long tradition situated at the intersection between modern book history, bibliography, textual criticism, and scholarly editing. Handwritten documents are called “modern” manuscripts to distinguish them from medieval or even older manuscripts. Whereas most extant medieval manuscripts are scribal copies and fit into a context of textual circulation and dissemination, modern manuscripts are usually autographs for private use. Traditionally, the watershed between older and “modern” manuscripts is situated around the middle of the 18th century, coinciding with the rise of the so-called Geniezeit, the Sturm und Drang (Storm and Stress) period in which the notion of “genius” became fashionable. Authors such as Goethe carefully preserved their manuscripts. This new interest in authors’ manuscripts can be part of the “genius” ideology: since a draft was regarded as the trace of a thought process, a manuscript was the tangible evidence of capital-G “Genius” at work. But this division between modern and older manuscripts needs to be nuanced, for there are of course autograph manuscripts with cancellations and revisions from earlier periods, which are equally interesting for manuscript research. Genetic criticism studies the dynamics of creative processes, discerning a difference between the part of the genesis that takes place in the author’s private environment and the continuation of that genesis after the work has become public. But the genesis is often not a linear development “before” and “after” publication; rather, it can be conceptualized by means of a triangular model. The three corners of that model are endogenesis (the “inside” of a writing process, the writing of drafts), exogenesis (the relation to external sources of inspiration), and epigenesis (the continuation of the genesis and revision after publication). At any point in the genesis there is the possibility that exogenetic material may color the endo- or the epigenesis. In the digital age, archival literary documents are no longer coterminous with a material object. But that does not mean the end of genetic criticism. On the contrary, an exciting future lies ahead. Born-digital works require new methods of analysis, including digital forensics, computer-assisted collation, and new forms of distant reading. The challenge is to connect to methods of digital text analysis by finding ways to enable macroanalysis across versions.


Mourning and Melancholia  

Tanya Dalziell

Mourning and melancholia are among the primary concepts that have come to interest and structure late-20th- and early-21st-century literary theory. The terms are not new to this historical moment—Hippocrates (460–379 bce) believed that an excess of black bile caused melancholia and its symptoms of fear and sadness—but they have taken on an urgent charge as theories respond to both the world around them and shifts in theory itself. With the 20th century viewed as a historical period marked by cataclysmic events, and literary theory characterized by the collapse of the transcendental signified, attention has turned to mourning and melancholia, and questions of how to respond to and represent loss. The work of Sigmund Freud has been a touchstone in this regard. Since the publication in 1917 of his essay “Mourning and Melancholia,” theorists have been applying and critiquing the ideas Freud formulated, and examining how literature might register them. The elegy has been singled out for particular scrutiny given that this poetic form is conventionally a lament for the dead that offers solace to the survivors. Yet, focus has expanded to include other literary modes and to query both the ethics of coming to terms with loss, which is the ostensible work of mourning, and the affective and political desirability of melancholia.


Muñoz, José Esteban  

Iván A. Ramos

The late José Esteban Muñoz’s body of work provides readers and scholars of Latina/o literary scholarship a vast scope that centers the work of performance as the tactic minoritarian subjects engage against a racist and homophobic public sphere. Throughout his writings, Muñoz sought to reveal a trajectory for minoritarian subjects from the realization of difference through disidentification through the search for what he called a “brown commons.” His oeuvre bridges the divides between Latina/o and queer studies, and offers an expansive methodological approach for both fields.


Narrative Theory  

Didier Coste

The narrative mode of world-representation and world-building is omnipresent and far exceeds the domain of literature. Since literature is not necessarily narrative and narrative not necessarily literary, the study of narrative in a literary context must confront narrative and literature in a dual way: How does the presence of narrative affect literature? And how does literariness affect narrative? The basic terminology needs to be clarified by comparing English with the vocabulary of other natural languages. No consensus has been reached, even in the West, on the nature of narrative discourse. The entire history of poetics shows that, before the middle of the 20th century, little attention was paid to the narrative components of literary texts qua narrative—that is, insofar as the same narrative elements could equally be found in non-aestheticized uses of verbal and non-verbal languages. Aristotelian poetics, based on the mimesis of human action, keeps its grip on narrative theory. The post-Aristotelian triad separated more sharply the lyric from the epic and dramatic genres, but modern narrative theories, mostly based on the study of folk tales and the novel, have still failed to unify the field of literary narrative, or have done it artificially, dissolving narrative discourse into the undifferentiated experience of human life in linear time. The Western “rise of the novel,” in Ian Watt’s sense, and its worldwide expansion, turned the question of fiction, not that of narrativity, into the main focus of narrative studies. Later, the emergence of formalism and semiotics and the “linguistic turn” of the social sciences pushed the narrative analysis of literary texts in the opposite direction, with all of its efforts bearing on minimal, supposedly deeper units and simple concatenations. The permanent, unresolved conflict between an analytical and constructivist view grounded in individual events and a holistic view concerned with story-worlds and storytelling leaves mostly unattended such fundamental questions as how narrative is used by literature and literature by narrative for their own ends. Literary narrativity must be thoroughly reconsidered. A critical, transdisciplinary theory should submit to both logical and empirical trial—on a large number of varied samples—and narrative analyses that would take into account the following concepts used to forge methodological tools: discrimination (between the functions of discourse genres and between pragmatic roles in literary communication); combination rules (whether linear or not); levels (as spatial placing, as interdependence and hierarchical authority); scale and spatiotemporal framing and backgrounding, especially the (dominant) time concepts in a particular cultural context. The preconditions for analysis begin by investigating the relation between aesthetic emotions and narrative in other cultural domains than the West and the English-speaking world. Literary narrativity and social values concur to link the rhetorical manipulation of narrative with its aestheticization. The pleasure and fear of cognition combine with strategies of delusion to either acquiesce to the effects of time and violence or resist them; routine and rupture are alternatively foregrounded, according to needs.


Narrative Time  

Stephanie Nelson and Barry Spence

Time is an inherent, constitutive aspect of narrative, whether the narrative concerns fiction or fact. To speak of narrative is to invoke time and multiple temporalities. Aristotle’s emphasis on action as a primary component of narrative implicitly acknowledges time as fundamental, since any action requires time. Whether narrative is seen as a series of connected events or as primarily the creation of a storyworld, the functional and structural roles of time stand. As a result of this, time has been one of the most analyzed, researched, and theorized subjects in the field of narrative theory. Discussions concerning such narrative concepts as story, plot, character, or point of view can hardly avoid considering temporal dynamics. And the elemental nature of time in narrative remains constant whether narrative is conceived more narrowly as depending on the presence of a narrator or is defined as the conjunction of a story and its representation. To consider the ways in which narratives involve the interrelationships of different temporalities is also to be reminded of the disjunction between so-called “real” or clock time and time as it is experienced. In contrast to the uniform directionality of clock time, time as it is experienced is constantly intertwined with memory and anticipation: that is, any experienced present is also interwoven with multiple pasts and futures. Narrative time captures this experience. Since a narrative is always a representation, a particular and subjective presentation of a story, the chronological sequence of events in a narrative may be represented in an infinite variety of ways. A given story can be told from its beginning moving through to its conclusion, or it can start with the end and build the story by revisiting earlier events, or it may start in the middle and proceed toward its end and at various points tack backward to earlier points, or it can do any combination of these. A representation of a story can create two storylines in parallel, the narrative crosscutting between the concurrent storylines, just as individuals can participate in one spatial-temporal setting while also immersed in another, whether technologically (as on the telephone or Internet) or mentally. In this way narrative time is in many ways truer to human experience than what is conventionally thought of as real time, namely the uniform absolute time undermined by Einstein’s discovery of relativity. What seems indisputable is that humans are hardwired to create and communicate with narrative; they habitually generate and trade in narratives as a way of making meaning of experience and of building connections with fellow humans. As a result, humans also constantly manipulate time, making sense of past, present, and future experiences through narrative. Just as anticipation of the future relies on the sense one makes of the present, the act of remembering has more to do with making narrative meaning than with accessing some fixed or stable mental recording of an event. Time is something an audience actively creates rather than something it passively experiences, and this may be borne out most vividly in the continuous activity of making narratives.



Gerald Prince

Narratology studies what all and only possible narratives have in common as well as what allows them to differ from one another qua narratives, and it attempts to characterize the narratively pertinent set of rules and norms governing narrative production and processing. This structuralist-inspired endeavor began to assume the characteristics of a discipline in 1966 with the publication of the eighth issue of Communications, which was devoted to the structural analysis of narrative and included contributions by the French or francophone founders of narratology. In its first decades, or what has come to be viewed as its classical period, narratology dedicated much of its attention to characterizing the constituents of the narrated (the “what” that is represented), those of the narrating (the way in which the “what” is represented), and the principles regulating their modes of combination. Though classical narratology had ambitions to be an autonomous branch of poetics rather than a foundation for critical commentary and a handmaid to interpretation, the narrative features that it described made up a toolkit for the study of particular texts and fostered a considerable body of narratological criticism. Besides, by encouraging the exploration of the theme of narrative as well as the frame that narrative constitutes, it contributed to the so-called narrative turn, which is the reliance on the notion “narrative” to discuss not only representations but any number of activities, practices, and domains. In part because of the influence of narratological criticism and that of other disciplines; in part because of its biases and insufficiencies; and in part because of its very concerns, goals, and achievements, classical narratology went through important changes and evolved into postclassical narratology. The latter, which rethinks, refines, expands, and diversifies its predecessor, comes in many varieties, including feminist narratology, which exposes the way sex, gender, and sexuality affect the shape of narrative; cognitive narratology, which examines those aspects of mind pertaining to narrative production and processing; natural narratology, in which experientiality, the evocation of experience, is the determining element of narrativity; and unnatural narratology, which concentrates on nonmimetic or anti-mimetic narratives and tests the precision or applicability of narratological categories, distinctions, and arguments. Other topics—for example the links between geography and narrative or the narratological differences between fictional and nonfictional narrative representations—have lately evoked a good deal of interest. Ultimately, whatever the specific narratological variety or approach involved, narratologists continue to try and develop an explicit, complete, and empirically or experimentally grounded model of their singularly human object.


Narratology of the Moment  

Peter J. Rabinowitz

Narratology of the moment is a branch of narrative theory that studies the affective power of particular moments in a narrative, viewed apart from their function in the whole, particularly apart from their role in the narrative’s temporal sequence. Adding the category of “flavor” to the standard narratological categories of “voice” and “focalization,” narratology of the moment slows down the reading process to explore the ways that a variety of features (for instance, momentary stylistic fireworks, particular cognitive configurations, or complex games with time and memory) can give individual moments a special frisson far in excess of their role in the larger work. Among other things, narratology of the moment seeks to explain why readers often return to particular passages in the works that they love.


From Nationalist Movements to Transnational Solidarities: Comparative and Pan-Latina/o Literary Studies  

Marta Caminero-Santangelo

While literature by Latin American origin groups within the United States (e.g., Mexican, Puerto Rican, Cuban, Dominican) has been treated as a single literary corpus—“Latina/o Literature” or “Hispanic Literature”—since the last decades of the 20th century, in practice, the commonalities among such texts were more comparative than panethnic in nature until significantly more recently. That is, while literature by different national-origin groups revealed some strong similarities in theme and form, the writing itself reflected the specific concerns, background, and history of the specific national-origin group, rather than giving evidence of intra-Latino group interaction or a developing sense of a shared intra-Latino culture. This article traces the commonalities among these bodies of literary production, including in the “pre-Latino” period, the 19th to mid-20th centuries, before there was even a commonly understood concept of “US Latino literature,” as well as during the Chicano and Nuyorican Movements of the 1960s and 1970s. It then turns to a discussion of developing representations of inter-group interactions and tensions, including in the more recent emergence of “Central American American” literary production. Particularly in the increasingly cosmopolitan urban centers of the United States, an evolving sense of intra-Latino solidarity and panethnic Latino “community” has come into view in the literature produced by Latinx writers of the later 20th and 21st centuries.


Neoliberalism and Contemporary Anglophone Fiction  

Emily Johansen

The problem of capital and the question of its appropriate or desired relationship with political life and civil society shapes how readers, authors, and citizens understand and experience everyday contemporary life and its cultural products. Capital, in its post-1945 incarnation, is widely held to have been either in a state of crisis or responding to crisis (both historical and contemporaneously). Depending on the critic, these crises and their impacts are varied: the collapse of the 19th-century European balance of power, the rise of Keynesian economics, the birth of biopolitics, the Cold War and the specter of Communism, the repeating “systemic cycles of accumulation” endemic to the history of capitalism. This variant of capitalism that shapes contemporary life goes by many names, though the general consensus tends to call it “neoliberalism.” Despite its varying names, neoliberalism is generally held to be an economic doctrine that understands human freedom to be best achieved through free markets and entrepreneurial enterprise, privileging the individual above all else. Government should, therefore, be minimal; its role is to enforce the rules of the game but not to interfere in it. Neoliberalism is thus both revolutionary in its insistence on rethinking social life as solely economic life and an extension of long-standing values and arrangements of economic life that date back centuries. Contemporary fiction takes part in debates about the hyper-individualized neoliberal subject and neoliberal values in a multitude of ways and at a variety of scales. The predominant way is in its interrogation of neoliberal identity politics—either to reinforce or critique, or something in-between, the possibilities for subject formation under neoliberalism. At another remove from the individual text has been the challenge to long-standing genre conventions, particularly in the novel. If modern novelistic genres rose alongside earlier modes of capitalist accumulation, contemporary authors are reimagining them to reflect changing rationalities. Finally, at the meta-textual level, there has been a variety of critical attention given to publishing, its infrastructures, and the role of the artist for both the appearance and success of texts. Across all these approaches—both imaginative and critical—is a commitment to an ongoing examination of the ways neoliberalism in all its varied impacts inflects “how we live now.”



Patrick Jagoda

Networks influence practically every subfield of literary studies. Unlike hierarchies and centralized structures, networks connote decentralization and distribution. The abstraction of this form makes it applicable to a wide variety of phenomena. For example, the metaphor and form of the network informs the way we think about communication systems in early American writing, social networks in Victorian novels, transnational circulation in postcolonial literature, and computer networks in late 20th-century cyberpunk fiction. Beyond traditional literary genres, network form is also accessible through comparative media analysis. Films, television serials, video games, and transmedia narratives may represent or evoke network structures through medium-specific techniques. The juxtaposition of different literary and artistic forms, across media, helps to defamiliarize network forms and make these complex structures available to thought. Across subfields of literary studies, critics may be drawn to networks because of their resonance with histories of the present and contemporary technoscience. Scholars may also recognize the sense of complexity and interconnection inherent in networks, which resonates with experiences of intertextuality and close reading itself. In addition to studying representations of networks, literary critics employ a variety of network-related methods. These approaches include historicist scholarship that uses network structures to think about social organization and communication in different eras, quantitative digital humanities tools that map networks of literary circulation, qualitative sociology of literature and reader-response theory that analyze networks of readers and publishers, and formalist work that compares network and aesthetic forms.