Literary critics have traditionally suggested that the invention of photography led to the rise of the realist novel, which is believed to imitate the detail and accuracy of the photographic image. Instead, says Stuart Burrows, photography's influence on American fiction had less to do with any formal similarity between the two media than with the capacity of photography to render American identity and history homogeneous and reproducible. The camera, according to Burrows, provoked a representational crisis, one broadly modernist in character. Since the photograph is not only a copy of its subject but a physical product of it, the camera can be seen as actually challenging mimetic or realistic theories of representation, which depend on a recognizable gap between original and reproduction. Burrows argues for the centrality of photography to a set of writers commonly thought of as hostile to the camera-including Nathaniel Hawthorne, Henry James, William Faulkner, and Zora Neale Hurston. The photographic metaphors and allusions to the medium that appear throughout these writers' work demonstrate the ways in which one representational form actually influences another--by changing how artists conceive of identity, history, and art itself. A Familiar Strangeness thus challenges the notion of an absolute break between nineteenth-century realism and twentieth-century modernism, a break that typically centers precisely on the two movements' supposedly differing relation to the camera. Just as modernist fiction interrupts and questions the link between visuality and knowledge, so American realist fiction can be understood as making the world less knowable precisely by making it more visible.

Presents a collection of critical essays on the works of the African American poets Robert Hayden, Gwendolyn Brooks, Jean Toomer, Claude McKay, Langston Hughes, Paul Laurence Dunbar, James Weldon Johnson and Alice Dunbar-Nelson.

This book examines the meaning and implications of the sociological maxim, ‘make the familiar strange’. Addressing the methodological questions of why and how sociologists should make the familiar strange, what it means to ‘make the familiar strange’, and how this approach benefits sociological research and theory, it draws on four central concepts: reification, familiarity, strangeness, and defamiliarization. Through a typology of the notoriously ambiguous concept of reification, the author argues that the primary barrier to sociological knowledge is our experience of the social world as fixed and unchangeable. Thus emerges the importance of constituting the familiar as the strange through a process of social defamiliarization as well as making this process more methodical by reflecting on heuristics and patterns of thinking that render society strange. The first concerted effort to examine an important feature of the sociological imagination, this volume will appeal to sociologists of any specialty and theoretical persuasion.

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The Found Voice: Writers' Beginnings uses the means of literary biography and criticism to do something rarely attempted--to understand how a key creative period establishes the authoritative voice of a unique artist. The essays which explore this hidden process of the writer writing focus on some of the major writers of recent times, V.S. Naipaul, J.M. Coetzee, Alice Munro, William Trevor, and Mavis Gallant. The focus of investigation is a single work by each author, and many of them identify the book in which this turning point was reached. The writers have a somewhat different sense of what the voice is, 'a true voice', 'the voice in the mind', 'the writing voice', etc., yet all of them accept the phrase 'finding a voice' as a decisive and necessary process towards a unique style and vision, their raison d'être as artists. These essays allow each one to define his or her sense of the process of writing, and their style is exploratory. Nevertheless, certain patterns emerge, of migration and cultural displacement, of linguistic self-consciousness, of memory and a reimagining of the first home, of absorbing and rejecting mentors and models. Crucially, the essays rely not just on what led up to the moment of creation but on a sense of the career that emerged from it. Most of the writers have written retrospectively in memoirs, interviews or essays about the pivotal work and its foundational significance. They are the best witnesses to the process, although their silence or their commentary is understood in terms of the many strands of the narrative that each essay presents.

Popular archaeology is a heterogeneous phenomenon: Focusing on the German archaeologist Heinrich Schliemann, Egyptian mummies, and the ruin complex Great Zimbabwe in fictional and factual texts, Susanne Duesterberg analyses the popular reception of archaeology in Victorian and Edwardian Britain. She offers an interdisciplinary and comparative view on the reception of the different archaeologies, reflecting contemporary sociocultural concerns in connection with identity formation. With its focus on popular culture as well as identity and memory studies, the book appeals to both a general public and experts from various disciplines.

When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With The Beast and the Sovereign, Volume 1, the University of Chicago Press inaugurates an ambitious series, edited by Geoffrey Bennington and Peggy Kamuf, translating these important works into English. The Beast and the Sovereign, Volume 1 launches the series with Derrida’s exploration of the persistent association of bestiality or animality with sovereignty. In this seminar from 2001–2002, Derrida continues his deconstruction of the traditional determinations of the human. The beast and the sovereign are connected, he contends, because neither animals nor kings are subject to the law—the sovereign stands above it, while the beast falls outside the law from below. He then traces this association through an astonishing array of texts, including La Fontaine’s fable “The Wolf and the Lamb,” Hobbes’s biblical sea monster in Leviathan, D. H. Lawrence’s poem “Snake,” Machiavelli’s Prince with its elaborate comparison of princes and foxes, a historical account of Louis XIV attending an elephant autopsy, and Rousseau’s evocation of werewolves in The Social Contract. Deleuze, Lacan, and Agamben also come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal.