Telling in current biblical postcolonial discourse that draws insights from the works of Aime Cesaire, Frantz Fanon, and postcolonial theorists is the missing contribution of Leopold Sedar Senghor, the architect of Negritude. If mentioned at all, Senghor is often read through conclusions drawn by his critics or dismissed altogether as irrelevant to postcolonialism. Restored to its rightful place, Senghorian Negritude is a postcolonial lens for reading Scripture and other faith traditions with a view to reposition, conscientize, liberate, and rehabilitate the conquered, and enable them to reclaim their faith traditions and practices that once directed a mutual relationship between God, human, and nature--a delicate symbiosis before the French colonial advent in West Africa. A keen eye for cross-cultural analysis and contextualization enriched this volume with an intriguing reading of scripture, Ancient Near Eastern and Greco-Roman texts in conversation with other faith traditions, particularly Senegalese Diola Religion. As a Poetics of Postcolonial Biblical Criticism, Negritude is an optic through which people of faith may look around themselves, critically reread their sacred texts, reassess their vocation, and practice mutuality with God and nature on the heels of chilling climate change. Enshrined in this innovative argument is a call for introspection and challenge for people of faith to assume their vocation--human participatory agency.

This scholarly study presents a new political Wordsworth: an artist interested in 'autonomous' poetry's redistribution of affect. No slave of Whig ideology, Wordsworth explores emotion for its generation of human experience and meaning. He renders poetry a critical instrument that, through acute feeling, can evaluate public and private life.

Critical Poetics of Feminist Refusals renders a vivid portrait of the intergenerational and intersectional dialogue between influential feminist writers on how to say no to the conditions of oppression, exclusion, and exploitation imposed by patriarchal and systemically racist capitalist societies. The book provides today’s readers and writers access to the powerful inventory of concepts and techniques that two generations of feminists have assembled for refusing domination and constituting fugitive forms of sociability and writing. Drawing on examples from feminist thinkers, Audre Lorde, Carla Lonzi, Hélène Cixous, Hortense Spillers, Alexis Pauline Gumbs, Anne Boyer and Simone White, the book focuses on how the power dynamics of recognition tie the uses of language to the material conditions of discrimination in everyday life.

This book begins with a reflection on dichotomies in comparative studies of Chinese and Western literature and aesthetics. Critiquing an oppositional paradigm, Ming Dong Gu argues that despite linguistic and cultural differences, the two traditions share much common ground in critical theory, aesthetic thought, metaphysical conception, and reasoning. Focusing on issues of language, writing, and linguistics; metaphor, metonymy, and poetics; mimesis and representation; and lyricism, expressionism, creativity, and aesthetics, Gu demonstrates that though ways of conception and modes of expression may differ, the two traditions have cultivated similar aesthetic feelings and critical ideas capable of fusing critical and aesthetic horizons. With a two-way dialogue, this book covers a broad spectrum of critical discourses and uncovers fascinating connections among a wide range of thinkers, theorists, scholars, and aestheticians, thereby making a significant contribution to bridging the aesthetic divide and envisioning world theory and global aesthetics.

Poetic critique – is that not an oxymoron? Do these two forms of behavior, the poetic and the critical, not pull in different, even opposite, directions? For many scholars working in the humanities today, they largely do, but that has not always been the case. Friedrich Schlegel, for one, believed that critique worthy of its name must itself be poetic. Only then would it stand a chance of responding adequately to the work of art. Taking Schlegel’s idea of poetische Kritik as a starting point, this volume reflects on the possibility of drawing these alleged opposites closer together. In light of current debates about the legacy of critique, it investigates whether a concept such as poetic critique (or poetic criticism) lends itself to enriching our intellectual practice by engaging with the poetic potential of criticism and the critical value of art and literature.

Cultural Grammars of Nation, Diaspora, and Indigeneity in Canada considers how the terms of critical debate in literary and cultural studies in Canada have shifted with respect to race, nation, and difference. In asking how Indigenous and diasporic interventions have remapped these debates, the contributors argue that a new “cultural grammar” is at work and attempt to sketch out some of the ways it operates. The essays reference pivotal moments in Canadian literary and cultural history and speak to ongoing debates about Canadian nationalism, postcolonalism, migrancy, and transnationalism. Topics covered include the Asian race riots in Vancouver in 1907, the cultural memory of internment and dispersal of Japanese Canadians in the 1940s, the politics of migrant labour and the “domestic labour scheme” in the 1960s, and the trial of Robert Pickton in Vancouver in 2007. The contributors are particularly interested in how diaspora and indigeneity continue to contribute to this critical reconfiguration and in how conversations about diaspora and indigeneity in the Canadian context have themselves been transformed. Cultural Grammars is an attempt to address both the interconnections and the schisms between these multiply fractured critical terms as well as the larger conceptual shifts that have occurred in response to national and postnational arguments.

This book helps readers make sense of the scope and complexity of the relationships between poetry and politics since 1900.

Loaded with captivating data, this brief and engaging overview includes a portion of the major abstract showstoppers of nineteenth-century England. In the event that you at any point needed to know which Thomas Hardy novel to peruse in the first place, or simply needed to stand your ground at a mixed drink gathering of English educators, this book is for you. Notwithstanding disclosing to you why Reverend Patrick Bronte copied his youngsters' new red shoes, and whether George Eliot was a man or lady and that's only the tip of the iceberg, Instant English Literature offers extraordinary highlights - including section rundowns, arrangements of's who, true to life and chronicled goodies, title records, and a large group of delineations, photographs, and kid's shows. "e;We think about the nineteenth century as a dynamic age - the time of pioneer extension, upsets, and railways, of extraordinary investigation and the Great Exhibition. Yet, in perusing crafted by Romantic and Victorian scholars one notification a contention, what Stefanie Markovits terms "e;an emergency of activity."e; In her book, The Crisis of Action in Nineteenth-Century English Literature, Markovits maps out this contention by concentrating on four authors: William Wordsworth, Arthur Hugh Clough, George Eliot, and Henry James.

What makes one poem better than another? Do Christians have an obligation to strive for excellence in the arts? While orthodox Christians are generally quick to affirm the existence of absolute truth and absolute goodness, even many within the church fall prey to the postmodern delusion that "beauty is in the eye of the beholder." This book argues that Christian doctrine in fact gives us a solid basis on which to make aesthetic judgments about poetry in particular and about the arts more generally. The faith once and for all delivered unto the saints is remarkable in its combined emphasis on embodied particularity and meaningful transcendence. This unique combination makes it the perfect starting place for art that speaks to who we are as creatures made for eternity.

This collection of original essays focuses on new and continuing movements in British Poetry. It offers a wide ranging look at feminist, working class, and other poets of diverse cultural backgrounds.