This volume offers a new introduction to the American Renaissance, exploring many of the key themes, genres, and social and cultural contexts that inform the best new scholarship in the field.

Allegory is a vast subject, and its knotty history is daunting to students and even advanced scholars venturing outside their own historical specializations. This Companion will present, lucidly, systematically, and expertly, the various threads that comprise the allegorical tradition over its entire chronological range. Beginning with Greek antiquity, the volume shows how the earliest systems of allegory developed in poetry dealing with philosophy, mystical religion, and hermeneutics. Once the earliest histories and themes of the allegorical tradition have been presented, the volume turns to literary, intellectual, and cultural manifestations of allegory through the Middle Ages and Renaissance. The essays in the last section address literary and theoretical approaches to allegory in the modern era, from reactions to allegory in the eighteenth and nineteenth centuries to reevaluations of its power in the thought of the twentieth century and beyond.

Seminar paper from the year 2009 in the subject American Studies - Literature, grade: 1,0, Humboldt-University of Berlin (Department of English and American Studies), course: Native American Literature, language: English, abstract: INTRODUCTION Karen Louise Erdrich, born in Minnesota in 1954 as the eldest of seven children, was raised Catholic in Wahpeton, North Dakota, where her parents taught at the Wahpeton Indian Boarding School. Her fiction reflects facets of her mixed heritage: she is German-American by her father, as well as French and Ojibwa (also known as Chippewa or Anishinaabe) by her mother. Louise Erdrich left North Dakota in 1972 and entered Dartmouth College in New Hampshire, where she met Michael Dorris, a mixed-blood Modoc Indian writer who founded the Native American Studies department at the college. Collaboratively, they published "Route Two" (1990) and "The Crown of Columbus" (1991). Erdrich and Dorris married in 1981, but were in the midst of divorce proceedings when he committed suicide in 1997. ”I knew that Michael was suicidal from the second year of our marriage,” Erdrich said in an interview. The award-winning writer is considered to be one of the most significant Native American novelists from the “second wave” of what is called the Native American Renaissance (see chapter 1.2). She is an enrolled member of the Turtle Mountain Band of Ojibwe. “No one knew yet how many were lost, people kept no track.” (Tracks, p. 15) "Tracks" (1988) Erdrich’s novel Tracks, which is to be explored in the present argument, is the third part of an initially planned tetralogy, including "Love Medicine" (1984), "The Beet Queen" (1986), and "The Bingo Palace" (1994). Louise Erdrich created a novel cycle, exploring the lives of various generations of Chippewa family who live on a fictional reservation in North Dakota in the twentieth century, a time when Indian tribes were struggling to retain their remaining land. Chronologically speaking, it is the family’s earliest period—from 1912 to 1924—that is related in Tracks. In most of her works, Erdrich uses several characters to narrate alternating chapters, presenting a story that unfolds from multiple perspectives. "Tracks" is told retrospectively by two homodiegetic narrators: Pauline Puyat, a mixed-blood who denies her Indian “half” in order to be accepted into the convent and changes her name to Sister Leopolda, and Nanapush, an older Native American who tells his story to a named addressee, his granddaughter Lulu: “You were born on the day we shot the last bear, drunk, on the reservation.” ("Tracks", p. 58) "Tracks" is constructed as mutually referential focalization, ...

A convenient source of critical commentary on the careers and works of acclaimed authors who died between 1800 and 1899. A cumulative title index is published separately (included in subscription).

How have Jews reshaped their identities as Jews in the face of the radical newness called America? Julian Levinson explores the ways in which exposure to American literary culture—in particular the visionary tradition identified with Ralph Waldo Emerson and Walt Whitman—led American Jewish writers to a new understanding of themselves as Jews. Discussing the lives and work of writers such as Emma Lazarus, Mary Antin, Ludwig Lewisohn, Waldo Frank, Anzia Yezierska, I. J. Schwartz, Alfred Kazin, and Irving Howe, Levinson concludes that their interaction with American culture led them to improvise new and meaningful ways of being Jewish. In contrast to the often expressed view that the diaspora experience leads to assimilation, Exiles on Main Street traces an arc of return to Jewish identification and describes a vital and creative Jewish American literary culture.

This award-winning series systematically presents career biographies of writers from all eras and all genres through volumes dedicated to specific types of literature and time periods.