In his earlier Rhetorical Power, Steven Mailloux presented an innovative and challenging strategy for combining critical theory and cultural studies. That book has stimulated wide-ranging discussion and debate among diverse audiences—students and specialists in American studies, speech communications, rhetoric/composition, law, education, biblical studies, and especially literary theory and cultural criticism. Reception Histories marks a further development of Mailloux's influential critical project, as he demonstrates how rhetorical hermeneutics uses rhetoric to practice theory by doing history. Reception Histories works out in detail what rhetorical hermeneutics means in terms of poststructuralist theory (Part One), nineteenth-century U.S. cultural studies (Part Two), and the contemporary history of curricular reform within the so-called Culture Wars (Part Three). Mailloux situates, defends, and elaborates the theory he first proposed in Rhetorical Power, and he exemplifies it with a new series of provocative reception histories. He also both critiques and reconceptualizes the version of reader response criticism he developed in his first book, Interpretive Conventions. Throughout Reception Histories, Mailloux demonstrates his distinctive blend of neopragmatism and cultural rhetoric study. By tracing the rhetorical paths of thought, this book offers a new way to read the current volatile debates over higher education and contributes its own original proposals for shaping the future of the humanities.

This wide-ranging volume looks at the reception history of the Bible's many texts; Part I surveys the outline, form, and content of twelve key biblical books that have been influential in the history of interpretation. Part II offers a series of in-depth case studies of the interpretation of particular biblical passages or books.

"Why should we take into account the history of reception in biblical methods? It is because as exegetes we have no choice. Recognizing our dependence on interpretations of the past is not a new method, but it is the very way we understand texts. Régis Burnet shows how this allows us to put our current interpretations into perspective, but also to dialogue with those of the past." --

The Oxford History of Classical Reception in English Literature (OHCREL) is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have stimulated responses and refashioning by English writers. Covering the full range of English literature from the early Middle Ages to the present day, OHCREL both synthesizes existing scholarship and presents cutting-edge new research, employing an international team of expert contributors for each of the five volumes. OHCREL endeavours to interrogate, rather than inertly reiterate, conventional assumptions about literary 'periods', the processes of canon-formation, and the relations between literary and non-literary discourse. It conceives of 'reception' as a complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. It explores in detail the ways in which English writers' engagement with classical literature casts as much light on the classical originals as it does on the English writers' own cultural context. This first volume, and fourth to appear in the series, covers the years c.800-1558, and surveys the reception and transformation of classical literary culture in England from the Anglo-Saxon period up to the Henrician era. Chapters on the classics in the medieval curriculum, the trivium and quadrivium, medieval libraries, and medieval mythography provide context for medieval reception. The reception of specific classical authors and traditions is represented in chapters on Virgil, Ovid, Lucan, Statius, the matter of Troy, Boethius, moral philosophy, historiography, biblical epics, English learning in the twelfth century, and the role of antiquity in medieval alliterative poetry. The medieval section includes coverage of Chaucer, Gower, and Lydgate, while the part of the volume dedicated to the later period explores early English humanism, humanist education, and libraries in the Henrician era, and includes chapters that focus on the classicism of Skelton, Douglas, Wyatt, and Surrey.

"The present volume [3] is the first to appear of the five that will comprise The Oxford History of Classical Reception in English Literature (henceforth OHCREL). Each volume of OHCREL will have its own editor or team of editors"--Preface.

James L. Machor offers a sweeping exploration of how American fiction was received in both public and private spheres in the United States before the Civil War. Machor takes four antebellum authors—Edgar Allan Poe, Herman Melville, Catharine Sedgwick, and Caroline Chesebro'—and analyzes how their works were published, received, and interpreted. Drawing on discussions found in book reviews and in private letters and diaries, Machor examines how middle-class readers of the time engaged with contemporary fiction and how fiction reading evolved as an interpretative practice in nineteenth-century America. Through careful analysis, Machor illuminates how the reading practices of nineteenth-century Americans shaped not only the experiences of these writers at the time but also the way the writers were received in the twentieth century. What Machor reveals is that these authors were received in ways strikingly different from how they are currently read, thereby shedding significant light on their present status in the literary canon in comparison to their critical and popular positions in their own time. Machor deftly combines response and reception criticism and theory with work in the history of reading to engage with groundbreaking scholarship in historical hermeneutics. In so doing, Machor takes us ever closer to understanding the particular and varying reading strategies of historical audiences and how they impacted authors’ conceptions of their own readership.

Perspectives on a book that changed ways of thinking and writing about art around the world