The Weary Blues

Approximately 90 years after its first e-book, this celebratory version of The Weary Blues reminds us of the beautiful success of Langston Hughes, who was once simply twenty-four at its first visual appeal. starting with the hole "Proem" (prologue poem)--"I am a Negro: / Black because the evening is black, / Black just like the depths of my Africa"--Hughes spoke without delay, in detail, and powerfully of the reviews of African american citizens at a time while their voices have been newly being heard in our literature.

Libertinage in Russian Culture and Literature (Russian History and Culture)

A lot of the former scholarship on Russia's literary discourses of sexuality and eroticism within the Silver Age used to be equipped on making use of eu theoretical versions (from psychoanalysis to feminist thought) to Russia's modernization. This publication argues that, on the become the 20 th century, Russian pop culture for the 1st time chanced on itself in direct war of words with the conventional excessive cultures of the higher periods and intelligentsia, generating modernized representations of sexuality.

Digital Modernism: Making It New in New Media

Whereas most important experiences of born-digital literature have a good time it as a postmodern paintings shape with roots in modern applied sciences and social interactions, electronic Modernism presents another family tree. Grounding her argument in literary background, media reviews, and the perform of close-reading, Jessica Pressman pairs modernist works via Ezra Pound, James Joyce, and Bob Brown, with significant electronic works like William Poundstone's undertaking for the Tachistoscope {Bottomless Pit}, Young-hae Chang Heavy Industries's Dakota, and Judd Morrissey's The Jew's Daughter to illustrate how the modernist stream of the Nineteen Twenties and Thirties laid the foundation for the recommendations of digital literature.

Impossible Modernism: T. S. Eliot, Walter Benjamin, and the Critique of Historical Reason

Most unlikely Modernism reads the writings of German thinker and critic Walter Benjamin (1892–1940) and Anglo-American poet and critic T. S. Eliot (1888–1965) to ascertain the connection among literary and historic shape through the modernist interval. It focuses quite on how they either resisted the different types of narration validated by means of nineteenth-century educational historians and grew to become in its place to standard literary devices—lyric, satire, anecdote, and allegory—to reimagine the kinds that old illustration may well take.