The Case For Literature

When Gao Xingjian was crowned Nobel Laureate in 2000, it was the first time in the hundred-year history of the Nobel Prize that this honor had been awarded to an author for a body of work written in Chinese. The same year, American readers embraced Mabel Lee's translation of Gao's lyrical and autobiographical novel Soul Mountain, making it a national best seller. Gao's plays, novels, and short fiction have won the Chinese expatriate an international following and a place among the world's greatest living writers. The bold and extraordinary essays in this volume ... embody an argument for literature as a universal human endeavor rather than one defined and limited by national boundaries. Gao believes in the need for the writer to stand apart from collective movements, regardless of whether these are engineered by political parties or driven by economic or other forces not related to literature. This collection presents Gao's innovative ideas on aesthetics, and it constitutes the very kernel of his thinking on literary creation.--Book jacket.

In The Case of Literature, Arne Höcker offers a radical reassessment of the modern European literary canon. His reinterpretations of Goethe, Schiller, Büchner, Döblin, Musil, and Kafka show how literary and scientific narratives have determined each other over the past three centuries, and he argues that modern literature not only contributed to the development of the human sciences but also established itself as the privileged medium for a modern style of case-based reasoning. The Case of Literature deftly traces the role of narrative fiction in relation to the scientific knowledge of the individual from eighteenth-century psychology and pedagogy to nineteenth-century sexology and criminology to twentieth-century psychoanalysis. Höcker demonstrates how modern authors consciously engaged casuistic forms of writing to arrive at new understandings of literary discourse that correspond to major historical transformations in the function of fiction. He argues for the centrality of literature to changes in the conceptions of psychological knowledge production around 1800; legal responsibility and institutionalized forms of decision-making throughout the nineteenth century; and literature's own realist demands in the early twentieth century.

When Gao Xingjian was crowned Nobel Laureate in 2000, it was the first time in the hundred-year history of the Nobel Prize that this honor had been awarded to an author for a body of work written in Chinese. The same year, American readers embraced Mabel Lee’s translation of Gao’s lyrical and autobiographical novel Soul Mountain, making it a national bestseller. Gao’s plays, novels, and short fiction have won the Chinese expatriate an international following and a place among the world’s greatest living writers. The bold and extraordinary essays in this volume--all beautifully translated by sinologist Mabel Lee--include Gao's Nobel Lecture ("The Case for Literature”), "Literature as Testimony: The Search for Truth,” "Cold Literature,” "Literature and Metaphysics: About Soul Mountain,” and "The Necessity of Loneliness,” as well as other essays. These essays embody an argument for literature as a universal human endeavor rather than one defined and limited by national boundaries. Gao believes in the need for the writer to stand apart from collective movements, regardless of whether these are engineered by political parties or driven by economic or other forces not related to literature. This collection presents Gao's innovative ideas on aesthetics, and it constitutes the very kernel of his thinking on literary creation. Praise for Soul Mountain: "A brilliant sprawl of a novel that defies conventional notions of 'the self’ and 'literature.’”--Washington Post "Startlingly poetic language . . . Bewitching narrative voices . . .One long immersion in buried strata of history and the psyche.”--Boston Globe "Gao’s wanderer . . . has found survival . . . in words. And ultimately, it is the miracle of those words that wins Nobels.”--Los Angeles Times Book Review

Children's book awards have mushroomed since the early twentieth-century and especially since the 1960s, when literary prizing became a favored strategy for both commercial promotion and canon-making. There are over 300 awards for English-language titles alone, but despite the profound impact of children’s book awards, scholars have paid relatively little attention to them. This book is the first scholarly volume devoted to the analysis of Anglophone children's book awards in historical and cultural context. With attention to both political and aesthetic concerns, the book offers original and diverse scholarship on prizing practices and their consequences in Australia, Canada, and especially the United States. Contributors offer both case studies of particular awards and analysis of broader trends in literary evaluation and elevation, drawing on theoretical work on canonization and cultural capital. Sections interrogate the complex and often unconscious ideological work of prizing, the ongoing tension between formalist awards and so-called identity-based awards — all the more urgent in light of the "We Need Diverse Books" campaign — the ever-morphing forms and parameters of prizing, and scholarly practices of prizing. Among the many awards discussed are the Pura Belpré Medal, the Inky Awards, the Canada Governor General Literary Award, the Printz Award, the Best Animated Feature Oscar, the Phoenix Award, and the John Newbery Medal, giving due attention to prizes for fiction as well as for non-fiction, poetry, and film. This volume will interest scholars in literary and cultural studies, social history, book history, sociology, education, library and information science, and anyone concerned with children's literature.

This collection revisits A Theory of Literary Production (1966) to show how Pierre Macherey’s remarkable—and still provocative—early work can contribute to contemporary discussions about the act of reading and the politics of formal analysis. Across a series of historically and philosophically contextualized readings, the volume’s contributors interrogate Macherey’s work on a range of pressing issues, including the development of a theory of reading and criticism, the relationship between the spoken and the unspoken, the labor of poetic determination and of literature’s resistance to ideological context, the literary relevance of a Spinozist materialism, the process of racial subjectification and the ontology of Blackness, and a theorization of the textual surface. Pierre Macherey and the Case of Literary Production also includes three new texts by Macherey, presented here in English for the first time: his postface to the revised French edition of A Theory of Literary Production; “Reading Althusser,” in which Macherey analyzes the concept of symptomatic reading; and a comprehensive interview in which Macherey reflects on the historical conditions of his early work, the long arc of his career at the intersection of philosophy and literature, and the ongoing importance of Louis Althusser’s thought. Recent translations of Macherey’s work into English have introduced new readers to the critic’s enduring power and originality. Timely in its questions and teeming with fresh insights, Pierre Macherey and the Case of Literary Production demonstrates the depths to which his work resonates, now more than ever.

Inequality is up. Decent work is down. Free market fundamentalism has been exposed as a tragic failure. In a job market upended by COVID-19—with Canadians caught in the grip of precarious labour, stagnant wages, a climate crisis, and the steady creep of automation—an ever-louder chorus of voices calls for a liveable and obligation-free basic income. Could a basic income guarantee be the way forward to democratize security and intervene where the market economy and social programs fail? Jamie Swift and Elaine Power scrutinize the politics and the potential behind a radical proposal in a post-pandemic world: that wealth should be built by a society, not individuals. And that we all have an unconditional right to a fair share. In these pages, Swift and Power bring to the forefront the deeply personal stories of Canadians who participated in the 2017–2019 Ontario Basic Income Pilot; examine the essential literature and history behind the movement; and answer basic income’s critics from both the right and left.

Using the example of The Tale of Peter Rabbit by Beatrix Potter to explore the impact of new media and technologies on how children learn about stories and reading, this book investigates nearly 100 re-tellings in a variety of media, some authorized by Potter's publisher Frederick Warne, some unauthorized. It looks at the implications of converging developments in children's literature: new media and technologies now readily available to children leading to new conventions and protocols of storytelling; changing commercial pressures on publishers and an emphasis on producing commodities associated with books and videos; saturation marketing which targets children and adults in different ways; and a cultural emphasis on the fragmentation, adaptation, and re-working of texts. The Tale of Peter Rabbit is now available as picture book, chapter book, board and bath book, pop-up, video (in versions that adhere to the original story and versions that deviate radically to include new adventures or Christian messages), ballet, CD-ROM, computer disc, audio tape, and filmstrip. The character of Peter Rabbit may be purchased as toy, clothing, dish, ornament, wallpaper, food, paper doll, and much else. His story and that of his author, Beatrix Potter, reappear in fragmented form in other books for children, in a murder mystery for adults, and in a graphic novel for teenagers. This book raises questions about the impact of these developments on young readers. Index. Appendix. Bibliography.

Building a National Literature boldly takes issue with traditional literary criticism for its failure to explain how literature as a body is created and shaped by institutional forces. Peter Uwe Hohendahl approaches literary history by focusing on the material and ideological structures that determine the canonical status of writers and works. He examines important elements in the making of a national literature, including the political and literary public sphere, the theory and practice of literary criticism, and the emergence of academic criticism as literary history. Hohendahl considers such key aspects of the process in Germany as the rise of liberalism and nationalism, the delineation of the borders of German literature, the idea of its history, the understanding of its cultural function, and the notion of a canon of major and minor authors.