On January 1, 1824, the English-speaking population of New Orleans celebrated the grand opening of the American Theatre, lauding
the advent of “Bards our own” and the rise of “our Drama” in the Crescent City (qtd. in Smither 41). For the city’s francophone residents, this event marked a new stage in the ongoing battle for cultural survival.…[Read more]

Moving from France to the Caribbean to the American continent, Creole Drama follows the people that created, shaped, and sustained French theatre culture in New Orleans from its inception in 1792 until the beginning of the Civil War. In doing so, it draws upon the neglected archive of francophone drama native to Louisiana, as well as a range of…[Read more]

Moving from France to the Caribbean to the American continent, Creole Drama follows the people that created, shaped, and sustained French theatre culture in New Orleans from its inception in 1792 until the beginning of the Civil War. In doing so, it draws upon the neglected archive of francophone drama native to Louisiana, as well as a range of…[Read more]

This guide details each phase of creating Histories of the NationalMall, mallhistory.org, including planning, interpretative approach, user experience and design, testing, and outreach efforts of the project team. Histories of the National Mall is a digital public history project developed by the RoyRosenzweig Center for History and New Media at…[Read more]

This paper will explore the use of the English landscape as a source of sublime horror, particularly through a shift in perception from idyllic to ominous. Where Peter Hutchings has indicated the importance of the ‘uncanny landscape’ as a fairly stable location for wrestling with modernity, this chapter will investigate those moments of slippage…[Read more]

Jorgenrique Adoum (translated by Katherine M. Hedeen and Víctor Rodríguez Núñez), ʿĀ’ishah al-Bāʿūnīyah (translated by Th. Emil Homerin), Rachel Tzvia Back, Dan Bellm, Luis Enrique Belmonte (translated by Guillermo Parra), Daniel Borzutzky, George Economou, Sa rah Tuss Efrik (translated by Johannes Göransson), Paul Éluard (translated by Carlos L…[Read more]

This panel examines the paradoxical centrality of marginal elements in nineteenth-century aesthetics, to trace how they revitalize the conceptual and cultural impact of form. Abstracts forthcoming shortly.

Explores how Henry James’s “The Beast in the Jungle” reads exactly as the sort of clinging back to a projected mother-figure, after freedom began to spell feelings of abandonment that psychically were proving increasingly intolerable, that object relations therapists finds in patients. Delineates how much of the story amounts to a tussle between…[Read more]

Analysis of how Jo creates her own femininity, apart from her mother’s, through effectively earning the trust and interest of increasingly impressive paternal imagos.

A central element of the core folk horror texts (The Wicker Man (1973), Blood on Satan’s Claw (1971), Witchfinder General (1968)) is the idea of rural communities as retaining pre-Christian practices and beliefs. When uncovered by a modern outsider who is returning to the countryside, these revelations disrupt their world view. Folk horror texts d…[Read more]

Addressing Walt Whitman’s reception in Iran, the present essay focuses on the front cover of a book-length translation of Whitman into Persian to study how Whitman’s image is visually translated for an Iranian audience. Among literary discourses of contemporary Iran, the one that associates poetry with mysticism plays the most significant role in…[Read more]

Since his first works came to critical attention, Ernest Hemingway has occupied a space in the critical and cultural imagination as a definitively ‘masculine’ writer. His novels and stories focus on male narrators in difficult or extreme situations involving war, violence, and the natural world, and his critical heritage has focused on these ele…[Read more]