There is a moment in his lovely memoir, My Mother’s Music, when Paul West lets slip a hint of dis... more There is a moment in his lovely memoir, My Mother’s Music, when Paul West lets slip a hint of dismay regarding the question of the relation of many serious writers including, I take it, himself, to the public in his adopted land. On the one hand, he tells how, when he begins to despair as to whether anyone “will ever take to” what he is writing, he hears an admonition from his mother: “do not try to write within the expectations of the reading public; give it your best shot, then leave it at ..
WEST STUDIES Madden, David. Understanding Paul West. Columbia: University of South Carolina Press... more WEST STUDIES Madden, David. Understanding Paul West. Columbia: University of South Carolina Press, 1993. Review of Contemporary Fiction 11, no 1 Spring 1991 (special issue on Paul West). Tissut Anne-Laure. Paul West, la prose a sensations. Paris : Belin, Collection “Voix americaines”, dirigee par Marc Chenetier, 2001. WEST’S WORKS Fiction and Memoirs A Quality of Mercy. London: Chatto & Windus, 1961. I, Said the Sparrow. London: Hutchinson, 1963. Tenement of Clay. London: Hutchinson, 1965; Ki...
Paul West est un ecrivain inclassable, un touche-a-tout de genie, traitant avec la meme passion l... more Paul West est un ecrivain inclassable, un touche-a-tout de genie, traitant avec la meme passion l'Egypte ancienne, l'Histoire europeenne, les Indiens Hopis des mesas nord-americaines, de la vie microscopique a la Voie Lactee. Sa venue a Tours en 2003 a donne l'occasion de mettre en evidence la diversite de son travail, au travers des approches critiques des auteurs de ce volume.
Arizona Quarterly: A Journal of American Literature, Culture, and Theory, 1989
����� ers (1956), Ridley Scott's Alien (1979) and Blade Runner (1982)—are all marked by a com... more ����� ers (1956), Ridley Scott's Alien (1979) and Blade Runner (1982)—are all marked by a common element: the presence of at least one moment of startling misogyny. These moments are startling in part because they involve either a narrative digression or superfluity, a stylistic deviation, or a violation of their films' prior encodings of the female. More importantly, each of them expresses an unanticipated level of male fear of or violence towaid women, in response to a threat to men's powers of representation and control. What follows attempts to read in these moments of textual excess both the instability of male identity and the vulnerability of male hegemony. This reading is part of the stream of response to Laura Mulvey's watershed essay on "Visual Pleasure and Narrative Cinema," with its crucial analysis of "Woman as Image, Man as Bearer of the Look." Since Mulvey, a good deal of writing on film and gender has focused on trying to undermine the seemingly monolithic structure of the classic pattiatchal Hollywood system, and paiticulatly on theorizing women's relation—and opposition—to a cinema that seems systematically to exclude them as subjects. Hence critics have taken up such matters as the "return of the gaze" on the part of the female image/object, the problem of "women's cinema," and the positions of actual female spectatots, in vatious histotical moments, as they watch classic Hollywood
Page 1. ROBERT McDOWELL, FREDERICK FEIRSTEIN, FREDERICK TURNER, ... Byers also indicts Frederick ... more Page 1. ROBERT McDOWELL, FREDERICK FEIRSTEIN, FREDERICK TURNER, ... Byers also indicts Frederick Turner for racism, relying for evi-dence on Turner's book-length poem The New World. Specifically, he refers to the "Amos-and-Andy dialect" of the Kingfish character. ...
Page 1. ROBERT McDOWELL, FREDERICK FEIRSTEIN, FREDERICK TURNER, ... Byers also indicts Frederick ... more Page 1. ROBERT McDOWELL, FREDERICK FEIRSTEIN, FREDERICK TURNER, ... Byers also indicts Frederick Turner for racism, relying for evi-dence on Turner's book-length poem The New World. Specifically, he refers to the "Amos-and-Andy dialect" of the Kingfish character. ...
There is a moment in his lovely memoir, My Mother’s Music, when Paul West lets slip a hint of dis... more There is a moment in his lovely memoir, My Mother’s Music, when Paul West lets slip a hint of dismay regarding the question of the relation of many serious writers including, I take it, himself, to the public in his adopted land. On the one hand, he tells how, when he begins to despair as to whether anyone “will ever take to” what he is writing, he hears an admonition from his mother: “do not try to write within the expectations of the reading public; give it your best shot, then leave it at ..
WEST STUDIES Madden, David. Understanding Paul West. Columbia: University of South Carolina Press... more WEST STUDIES Madden, David. Understanding Paul West. Columbia: University of South Carolina Press, 1993. Review of Contemporary Fiction 11, no 1 Spring 1991 (special issue on Paul West). Tissut Anne-Laure. Paul West, la prose a sensations. Paris : Belin, Collection “Voix americaines”, dirigee par Marc Chenetier, 2001. WEST’S WORKS Fiction and Memoirs A Quality of Mercy. London: Chatto & Windus, 1961. I, Said the Sparrow. London: Hutchinson, 1963. Tenement of Clay. London: Hutchinson, 1965; Ki...
Paul West est un ecrivain inclassable, un touche-a-tout de genie, traitant avec la meme passion l... more Paul West est un ecrivain inclassable, un touche-a-tout de genie, traitant avec la meme passion l'Egypte ancienne, l'Histoire europeenne, les Indiens Hopis des mesas nord-americaines, de la vie microscopique a la Voie Lactee. Sa venue a Tours en 2003 a donne l'occasion de mettre en evidence la diversite de son travail, au travers des approches critiques des auteurs de ce volume.
Arizona Quarterly: A Journal of American Literature, Culture, and Theory, 1989
����� ers (1956), Ridley Scott's Alien (1979) and Blade Runner (1982)—are all marked by a com... more ����� ers (1956), Ridley Scott's Alien (1979) and Blade Runner (1982)—are all marked by a common element: the presence of at least one moment of startling misogyny. These moments are startling in part because they involve either a narrative digression or superfluity, a stylistic deviation, or a violation of their films' prior encodings of the female. More importantly, each of them expresses an unanticipated level of male fear of or violence towaid women, in response to a threat to men's powers of representation and control. What follows attempts to read in these moments of textual excess both the instability of male identity and the vulnerability of male hegemony. This reading is part of the stream of response to Laura Mulvey's watershed essay on "Visual Pleasure and Narrative Cinema," with its crucial analysis of "Woman as Image, Man as Bearer of the Look." Since Mulvey, a good deal of writing on film and gender has focused on trying to undermine the seemingly monolithic structure of the classic pattiatchal Hollywood system, and paiticulatly on theorizing women's relation—and opposition—to a cinema that seems systematically to exclude them as subjects. Hence critics have taken up such matters as the "return of the gaze" on the part of the female image/object, the problem of "women's cinema," and the positions of actual female spectatots, in vatious histotical moments, as they watch classic Hollywood
Page 1. ROBERT McDOWELL, FREDERICK FEIRSTEIN, FREDERICK TURNER, ... Byers also indicts Frederick ... more Page 1. ROBERT McDOWELL, FREDERICK FEIRSTEIN, FREDERICK TURNER, ... Byers also indicts Frederick Turner for racism, relying for evi-dence on Turner's book-length poem The New World. Specifically, he refers to the "Amos-and-Andy dialect" of the Kingfish character. ...
Page 1. ROBERT McDOWELL, FREDERICK FEIRSTEIN, FREDERICK TURNER, ... Byers also indicts Frederick ... more Page 1. ROBERT McDOWELL, FREDERICK FEIRSTEIN, FREDERICK TURNER, ... Byers also indicts Frederick Turner for racism, relying for evi-dence on Turner's book-length poem The New World. Specifically, he refers to the "Amos-and-Andy dialect" of the Kingfish character. ...
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