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14 results

  • Building and Unbuilding a Comics Canon
  • Andrew Hoberek
  • Journal: PMLA / Publications of the Modern Language Association of America / Volume 134 / Issue 3 / May 2019
  • Published online by Cambridge University Press: 23 October 2020, pp. 614-619
  • Print publication: May 2019
  • View extract

    The inaugural conference of the comics studies society, held in August 2018 at the University of Illinois, Urbana, was the most professionally diverse conference I've ever attended. There were presentations by tenure-track faculty members, non-tenuretrack faculty members, graduate students, and independent scholars; by people from four-year institutions, community colleges, and high schools; by literary critics, art historians, media scholars, research librarians, and working artists. Everywhere one felt the energy of a new field of study coming together, of institutionalization in a good sense: the gathering of past work to create a critical canon, the debate over methodology, the effort to establish priorities for moving forward as a discipline. he emotional palette that this event produced, at least for me, was an odd combination of excitement and melancholy—melancholy because, at a moment when traditional humanistic disciplines are having their support cut, it's hard to imagine a new ield getting anything like the resources or hires it needs to survive, let alone thrive.

The Cambridge Companion to John F. Kennedy
  • The Cambridge Companion to John F. Kennedy
  • Edited by Andrew Hoberek
  • Published online: 05 May 2015
  • Print publication: 23 April 2015
  • View description
    John F. Kennedy remains central to both the American and the global imagination. Featuring essays by leading literary critics, historians, and film scholars, The Cambridge Companion to John F. Kennedy addresses such topics as Kennedy's youth in Boston and his time at Harvard, his foreign policy and his role in reshaping the US welfare state, his relationship to the civil rights and conservative movements, and the ongoing reverberations of his life and death in literature and film. Going beyond historical or biographical studies, these chapters explore the creation and afterlife of an icon, a figure who still embodies - and sparks debate about - what it means to be American.
  • 54 - The Jewish great American novel
  • from PART THREE - MODERNISM AND BEYOND
  • Edited by Leonard Cassuto, Fordham University, New York
  • Edited in association with Clare Virginia Eby, University of Connecticut, Benjamin Reiss, Emory University, Atlanta
  • Book: The Cambridge History of the American Novel
  • Published online: 28 July 2011
  • Print publication: 24 March 2011, pp 893-908
  • View extract

    Summary

    In his 1957 essay “The University as Villain” Saul Bellow, an inveterate critic of academia, surprisingly affirms the university employment of writers. Arguing against the cult of “Experience” which declares, “Writers have always come out of the gutter. The gutter is their proper place,” Bellow contends, “The life of a civilized man is, increasingly, an internalized one, and towards this internalized life writers have been encouraged to take a gross and foolish attitude.” Thus, the university-based author “may find a Whitehead or an Einstein as well worth writing about as saloon-keepers or big game hunters.” This should remind us that not only have many of Bellow's protagonists – Moses Herzog, Albert Corde, Abe Ravelstein – been academics, but even the most active ones – Augie March, Eugene Henderson – have been decidedly introspective. More than a surprising amendment to Bellow's anti-academic stance, his comments limn the formal program of what might be called the Jewish great American novel: the transition from the cult of experience identified with Ernest Hemingway and its replacement by a form of realism grounded in the representation of characters’ cognitive and emotional states. In the hands of Bellow, Norman Mailer, and Philip Roth, the American novel abandoned an increasingly stereotyped realm of manly action and renewed itself via the sweepingly ambitious depiction of what Amy Hungerford calls, with reference to Bellow's books, “the thinking, self-contradicting, peculiar mind of a particular individual.”