A collection of anecdotes and excerpts collected from Chicago's rich literary legacy, with profiles of the neighborhoods featured in key works and those that inspired some of the city's authors.

The Chicago Literary Experience is a concise literary history of the city of Chicago. Taking as its thematic starting point the city's famous World's Columbian Exposition of 1893, the book provides an account of the city's rapid and in many ways unprecedented development from trading post to metropolis, and examines the many literary responses to this new urban environment. By contextualizing literature written about the city in these formative years, the book shows not only how the city influenced its writers, but also how these writers struggled to transform their urban environment into literary forms. Covering such aspect as the emergence of the novel of the businessman as cultural hero, the humorous newspaper columns of the late nineteenth century, and the Depression-era revitalization of Chicago literature from its ethnic neighborhoods, the book moves beyond the obvious "classics" and rediscovers a vibrant literary tradition that restores almost-forgotten writers such as Eugene Field and Floyd Dell to their place in American literary history. Given the historical approach and the breadth of material covered, the book will be valuable to anyone wanting to understand how American literature in this defining period moved from the farm to the city-and what happened to it once it had arrived. Authors discussed include Jane Addams, George Ade, Nelson Algren, Sherwood Anderson, Saul Bellow, Gwendolyn Brooks, Willa Cather, Floyd Dell, Theodore Dreiser, James T. Farrell, Eugene Field, Henry B. Fuller, Hamlin Garland, Robert Herrick, Jack London, Frank Norris, Carl Sandburg, Upton Sinclair and Richard Wright. Frederik Byrn Køhlert is a doctoral student at the University of Montreal. He has an MA in English from the University of Oregon and an MA in English and Scandinavian Literature from the University of Aarhus, Denmark.

The Chicago Renaissance began in the early 1900s and lasted until approximately 1930. The leading writers of the period, including Theodore Dreiser ("Sister Carrie)

Reprint of the original, first published in 1875.

Begun in 2010 as part of the “Histories of Literatures in European Languages” series sponsored by the International Comparative Literature Association, the current project on New Literary Hybrids in the Age of Multimedia Expression recognizes the global shift toward the visual and the virtual in all areas of textuality: the printed, verbal text is increasingly joined with the visual, often electronic, text. This shift has opened up new domains of human achievement in art and culture. The international roster of 24 contributors to this volume pursue a broad range of issues under four sets of questions that allow a larger conversation to emerge, both inside the volume’s sections and between them. The four sections cover, 1) Multimedia Productions in Theoretical and Historical Perspective; 2) Regional and Intercultural Projects; 3) Forms and Genres; and, 4) Readers and Rewriters in Multimedia Environments. The essays included in this volume are examples of the kinds of projects and inquiries that have become possible at the interface between literature and other media, new and old. They emphasize the extent to which hypertextual, multimedia, and virtual reality technologies have enhanced the sociality of reading and writing, enabling more people to interact than ever before. At the same time, however, they warn that, as long as these technologies are used to reinforce old habits of reading/ writing, they will deliver modest results. One of the major tasks pursued by the contributors to this volume is to integrate literature in the global informational environment where it can function as an imaginative partner, teaching its interpretive competencies to other components of the cultural landscape.

A timely reconsideration of the history of the profession, Outside Literary Studies investigates how midcentury Black writers built a critical practice tuned to the struggle against racism and colonialism. This striking contribution to Black literary studies examines the practices of Black writers in the mid-twentieth century to revise our understanding of the institutionalization of literary studies in America. Andy Hines uncovers a vibrant history of interpretive resistance to university-based New Criticism by Black writers of the American left. These include well-known figures such as Langston Hughes and Lorraine Hansberry as well as still underappreciated writers like Melvin B. Tolson and Doxey Wilkerson. In their critical practice, these and other Black writers levied their critique from “outside” venues: behind the closed doors of the Senate Permanent Subcommittee on Investigations, in the classroom at a communist labor school under FBI surveillance, and in a host of journals. From these vantages, Black writers not only called out the racist assumptions of the New Criticism, but also defined Black literary and interpretive practices to support communist and other radical world-making efforts in the mid-twentieth century. Hines’s book thus offers a number of urgent contributions to literary studies: it spotlights a canon of Black literary texts that belong to an important era of anti-racist struggle, and it fills in the pre-history of the rise of Black studies and of ongoing Black dissent against the neoliberal university.

"The turn of the twentieth century was a decisive moment in the institutionalisation of Russia's literary scholarship. This is the first book in the English language to provide an in-depth analysis of the emergence of Russia's literary academia in the pre-Revolutionary era. In particular, Byford examines the rhetoric of self-representation of major academic establishments devoted to literary study, the canonisation of exemplary literary historians and philologists (Buslaev, Grot, Veselovskii, Potebnia, Ovsianiko-Kulikovskii), and attempts by Russian literary academics of this era to define their work as a distinct form of scholarship (nauka). By analysing a range of academic rituals, from celebrations of institutional anniversaries to professors inaugural lectures, and by dissecting the discourse of scholars' obituaries, commemorative speeches and manuals in scholarly methodology, Byford reveals how the identity of literary studies as a discipline was constructed in Russia. He provides not only a unique insight into fin-de-siecle Russian literary scholarship, but also an original approach to academic institutionalisation more widely."

This book examines the conceptual, existential, and logical conditions under which the philosophical novel can be treated as a literary genre on a par with generally recognized literary genres, such as mystery, romantic, adventure, religious, or historical novel. Michael H. Mitias argues that the philosophical novel meets these conditions. He advances a detailed analysis of the concept of literary genre, and discusses the reasons which justify the claim that philosophical novel is a distinct literary genre. This is based on the assumption that philosophical ideas can be communicated metaphorically. An analysis of this assumption necessarily leads to a detailed discussion of the concept of metaphor and the extent to which it can be the vehicle of communicating philosophical truth.