"A much-needed contribution to and critique of debates in the newly emerging field of transparency studies from the perspective of American literary studies. In the twenty-first century, transparency has become an ambiguous buzzword both in the public and the private realms (e.g. Wikileaks and the Snowden affair; social media). This volume takes its cue from the emerging field of transparency studies, recent scholarly work in sociology, political theory, and cultural studies that identifies a hegemonic rhetoric of transparency in public and political life. While scholars in this new field routinely gesture toward literature as the realm where secrecy may be productive, they rarely engage with literature directly, and literary studies itself remains notably absent from their debates. This collection of essays seeks to redress that state of affairs by focusing on literary texts written in an American cultural tradition steeped in the interplay between transparency and exposure, fear and secrecy, security and surveillance, and information and disinformation. The essays draw on authors ranging from Whitman, James, and Ellison to Pynchon, Morrison, and Eggers to argue that American literature complicates theoretical assumptions about transparency made in other disciplines. They question the field's strong theoretical emphasis on present-day technopolitical practices and discourses as the location of hegemonic discourse on transparency, and instead historicize such phenomena and extend them to discursive spheres that have so far been neglected (such as issues of sexuality and race). Edited by Paula Martâin-Salvâan and Sascha Pèohlmann. Contributors: Tomasz Basiuk, Jesâus Blanco Hidalga, Cristina Chevere÷san, Julia Faisst, Michel Feith, Juliâan Jimâenez Heffernan, Tiina Kèakelèa, Juan L. Pâerez-de-Luque, Umberto Rossi, Jelena éSesniâc, Toon Staes, Julia Straub, Alice Sundman"--

Alex Byrne sets out and defends a theory of self-knowledge-knowledge of one's mental states. Inspired by Gareth Evans' discussion of self-knowledge in his The Varieties of Reference, the basic idea is that one comes to know that one is in a mental state M by an inference from a worldly or environmental premise to the conclusion that one is in M. (Typically the worldly premise will not be about anything mental.) The mind, on this account, is 'transparent': self-knowledge is achieved by an 'outward glance' at the corresponding tract of the world, not by an 'inward glance' at one's own mind. Belief is the clearest case, with the inference being from 'p' to 'I believe that p'. One serious problem with this idea is that the inference seems terrible, because 'p' is at best very weak evidence that one believes that p. Another is that the idea seems not to generalize. For example, what is the worldly premise corresponding to 'I intend to do this', or 'I feel a pain'? Byrne argues that both problems can be solved, and explains how the account covers perception, sensation, desire, intention, emotion, memory, imagination, and thought. The result is a unified theory of self-knowledge that explains the epistemic security of beliefs about one's mental states (privileged access), as well as the fact that one has a special first-person way of knowing about one's mental states (peculiar access).

"A much-needed contribution to and critique of debates in the newly emerging field of transparency studies from the perspective of American literary studies. In the twenty-first century, transparency has become an ambiguous buzzword both in the public and the private realms (e.g. Wikileaks and the Snowden affair; social media). This volume takes its cue from the emerging field of transparency studies, recent scholarly work in sociology, political theory, and cultural studies that identifies a hegemonic rhetoric of transparency in public and political life. While scholars in this new field routinely gesture toward literature as the realm where secrecy may be productive, they rarely engage with literature directly, and literary studies itself remains notably absent from their debates. This collection of essays seeks to redress that state of affairs by focusing on literary texts written in an American cultural tradition steeped in the interplay between transparency and exposure, fear and secrecy, security and surveillance, and information and disinformation. The essays draw on authors ranging from Whitman, James, and Ellison to Pynchon, Morrison, and Eggers to argue that American literature complicates theoretical assumptions about transparency made in other disciplines. They question the field's strong theoretical emphasis on present-day technopolitical practices and discourses as the location of hegemonic discourse on transparency, and instead historicize such phenomena and extend them to discursive spheres that have so far been neglected (such as issues of sexuality and race). Edited by Paula Martín-Salván and Sascha Pöhlmann. Contributors: Tomasz Basiuk, Jesús Blanco Hidalga, Cristina Chevereșan, Julia Faisst, Michel Feith, Julián Jiménez Heffernan, Tiina Käkelä, Juan L. Pérez-de-Luque, Umberto Rossi, Jelena Šesnić, Toon Staes, Julia Straub, Alice Sundman"--

This collection aims to examine the relationship between American fiction and innovations that marked the first decades of the 21st century: the Internet, social media, smart objects and environments, artificial intelligence, nanotechnologies, genetic engineering and other biotechnologies, transhumanism. These technological innovations redefine the way we live in and imagine our world, interact with each other and understand the human being in his or her ever closer relationship to the machine a human being no longer, as in the past, cared for or repaired, but now enhanced or replaced. What about our artistic and cultural practices? Are these recent advances changing language and literature? How is fiction transformed by technological progress and what representations of progress can it oppose? Can fiction offer a critique of the new media and the upheavals they precipitate? How does the temporality of literature respond to a technical time subjected to the imperative of efficiency, where the present is a slave to the future? Do virtual worlds challenge the primacy of literary fiction as a privileged mode of escape from daily life? In a context where software can generate literary works, can the force of poetical advent still oppose algorithmic logics? What becomes of the body in a world in which its technical extensions increase the externalization of its cognitive functions in media artifacts and digital networks? In order to explore these questions, scholars here investigate the American fiction of Russell Banks, Don DeLillo, David Foster Wallace, Jonathan Lethem, Tao Lin, Richard Powers, Kenneth Goldsmith, Jennifer Egan or Jonathan Franzen as well as the Cyberpunk genre and the Neuronovel.

This series presents a comprehensive, global and up-to-date history of English-language prose fiction and written ... by a international team of scholars ... -- dust jacket.

Witnessing the end of a war that nearly terminated the nation, the abolition of racial slavery and rise of legal segregation, the rise of Modernism and Hollywood, the closing of the frontier and two World Wars, the literary historical period represented in this volume constitutes the crucible of American literary history. Here, 35 essays by top researchers in the field detail how considerations of race and citizenship; immigration and assimilation; gender and sexuality; nationalism and empire; all reverberate throughout novels written in the United States between 1870 and 1940. Contributors discuss the professionalization of literary production after the Civil War alongside legal and political debates over segregation and citizenship; while chapters on journalism, geography, religion, and immigration offer discussions on everything from the lasting role of literary realism in American fiction to the Spanish-American War's effect on developing theories of aesthetics and popular culture. The volume offers thorough coverage of the emergence of serial fiction, children's fiction, crime and detective fiction, science fiction, and even cinema and comics, as new media and artistic revolutions like the Harlem Renaissance helped usher in the new international aesthetic movement of Modernism. The final chapters in the volume explore the relationship of the novel to the emergence of "American literature" as a category in the academy, in public criticism and journalism, and in mass culture.

In Schools of Fiction, Morgan Day Frank considers a bizarre but integral feature of the modern educational experience: that teachers enthusiastically teach literary works that have terrible things to say about school. From Ishmael's insistence in Herman Melville's Moby-Dick that a whale-ship was my Yale College and my Harvard, to the unnamed narrator's expulsion from his southern college in Ralph Ellison's Invisible Man, the most frequently taught books in the English curriculum tend to be those that cast the school as a stultifying and inhumane social institution. Why have educators preferred the anti-scholasticism of the American romance tradition to the didacticism of sentimentalists? Why have they organized African American literature as a discursive category around texts that despaired of the post-Reconstruction institutional system? Why did they start teaching novels, that literary form whose very nature, in Mikhail Bakhtin's words, is not canonic? Reading literature in class is a paradoxical undertaking that, according to Day Frank, has proved foundational to the development of American formal education over the last two centuries, allowing the school to claim access to a social world external to itself. By drawing attention to the transformative effect literature has had on the school, Schools of Fiction challenges some of our core assumptions about the nature of cultural administration and the place of English in the curriculum. The educational system, Day Frank argues, has depended historically on the cultural objects whose existence it is ordinarily thought to govern and the academic subject it is ordinarily thought to have marginalized.