Department of English

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https://hdl.handle.net/20.500.14078/8

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Sally trombone: for brass quintet
(1996) Fillmore, Henry; Katz, Marco
Music score for 2 trumpets, horn (or baritone), trombone, and tuba; originally for trombone and band.
Modernism in transition: the expatriate American magazine in Europe between the world wars
(1999) Monk, Craig
The importance of the little magazine in the history of modernism is examined.
Translating woman: reading the female through the male
(1999) Henitiuk, Valerie
Feminist literary criticism has argued that our understanding of literary paradigms, metaphors, and meaning in general is profoundly affected by the gender of both author and audience. Critics of this school posit that a woman’s experience comprises unique perceptions and emotions, and that women and men do not inhabit an identical world, or at the very least do not view it identically, in that sexual difference as a social construct has implications for how one interprets as well as how one is interpreted. This article discusses the nature of the text/reader transaction, and the effect on the dialogue between a woman writer and her audience of mediation by a male critic and translator.
Renaissance music for four trombones
(1999) Byrd, William; Katz, Marco
Contents: April is in my mistress' face / Thomas Morley -- Look down, O Lord / William Byrd -- Phyllis, farewell / Thomas Bateson -- Se scior si ved'il laccio a cui dianz'io / Maddalena Casulana -- Excerpt from Fiori musicali / Girolami Frescobaldi -- Lauda Sion / G.P. da Palestrina -- T'amo mia vita / Vittoria Aleotti -- Construe my meaning / Giles Farnaby -- Excerpt from Messa concertata / Isabella Leonarda La cortesia / Orlando di Lasso -- Zwischen Perg und tieffem Tal / Heinrich Isaac -- De los álamos vengo, madre / Juan Vasquez.
Seeking refuge in prepubescent space: the strategy of resistance employed by The tale of Genji’s third princess
(2001) Henitiuk, Valerie
This article will explore how and why Murasaki Shikibu presents the Third Princess (Onna Sannomiya) as perpetually child-like and innocent, despite a storyline that sees her marry, become involved in an illicit affair, bear an illegitimate child, and finally take vows as a Buddhist nun. The present character study aims to suggest a new way to read this princess’ apparently immature behaviour as a sign of agency, albeit expressed within strictly limited parameters.
Step into my parlour: magical realism and the creation of a feminist space
(2003) Henitiuk, Valerie
This article sets out to demonstrate that Nights at the Circus is a magic-realist novel, by comparing its features and techniques to the existing theory and other examples within the genre. It also seeks to explore why magic realism is ideally suited to Angela Carter's objectives.
Review of Rodger L. Tarr, ed., As ever yours: the letters of Max Perkins and Elizabeth Lemmon
(2005) Monk, Craig
The study of 20th-century literature in the United States has been enriched by the publication of letters written by Scribner’s editor Maxwell Perkins. Editor to Author (1950), a collection that appeared just three years after his death, both illustrated the issues preoccupying modern writers and their publishers and revealed the significant literary influence of Perkins himself. Subsequent volumes, such as Dear Scott, Dear Max (1971), Ring Around Max (1973), The Only Thing that Counts (1996), Max and Marjorie (1999), To Loot My Life Clean (2000), and The Sons of Maxwell Perkins (2004), made particularly important contributions to scholarship on F. Scott Fitzgerald, Ernest Hemingway, Ring Lardner, Marjorie Rawlings, and Thomas Wolfe. On the other hand, Father to Daughter (1995) sought to reveal something more about Perkins the man, and Rodger Tarr’s latest collection, As Ever Yours, attempts to rediscover a balance between the professional and the personal in its depiction of Perkins.
When Eustace Tilley came to Madison Square Garden: professional hockey and the editorial policy of the New Yorker in the 1920s and 1930s
(2005) Monk, Craig
In even its earliest months of publication during the winter of 1925, the New Yorker sought to position itself as an upscale humor magazine. But the often-too-slim periodical was notoriously uneven in its first numbers, and it was difficult for its few readers to see how editor Harold Ross would develop the reputation for sophistication he desired for the New Yorker while achieving its intended tone "of gaiety, wit and satire," as set out in the prospectus he had written a year before.1 Part of the initial problem, as Ross biographer Thomas Kunkel argues, was that the editor himself was uncertain whether a Manhattan aristocracy was to be the audience for his magazine or the primary target of its mockery. One attempt to strike a balance between these early positions was represented by the Rea Irwin illustration of "Eustace Tilley," the monocled dandy whose inquisitive pose on the first cover came to embody the "smart, enigmatic, relaxed, observant, amusing, yet somehow detached" mien Ross sought.2 If Tilley was the New Yorker in its early years, watching over with impeccable discernment a city more demonstrably heterogeneous than anyone of his social standing would have dared concede, it is still difficult to imagine him in attendance at Madison Square Garden, taking in a spectacle like a bicycle race, a boxing match, or, from the middle of the 1920s, a professional hockey game. And, yet, hockey reportage held considerable significance during the first decade of publishing the New Yorker, as the story itself quickly evolved beyond the discussion of a successful business venture, especially in the five years during which hockey was covered by Niven Busch, a young Manhattan writer who later found success as a novelist and screenwriter in Hollywood.
Forgive me for staining this sacred land with my blood
(2005) Katz, Marco
In Nostromo, Joseph Conrad describes tortures suffered by Dr. Monygham in a mythical New World Nation, concluding, “And these conditions seemed to bind him indissolubly to the land of Costaguana like an awful procedure of naturalization, involving him deep in the national life, far deeper than any amount of success and honour could have done” (319).
Review of Karin Cope, Passionate collaborations: learning to live with Gertrude Stein
(2006) Monk, Craig
With Passionate Collaborations, Karin Cope hopes to explore a literary criticism beyond poststructuralist theory, finding existing interpretative tools unsatisfactory for reading the texts of Gertrude Stein. It has taken Cope more than twenty years and a thousand discarded manuscript pages to find the voice to address her subject, and she here embraces a spirit of collaboration, merging a respect for cooperation with a sense of compromise, as one way forward. Stein’s own collaborations, primarily with her relatives and literary friends, fueled her career, but they also blurred distinctions between Stein’s creative achievement and the influence of those people around her. One of the features that distinguished Stein’s approach from any of her contemporaries was her unwillingness to acknowledge the conventions of genre in her writing: she wrote about literature, for example, in the same manner as she composed her plays. In this spirit of collaboration, Cope fashions her appreciation of Stein in defiance of the conventions of criticism. Hers is a highly personal reading of the works that incorporates personal observation, mirroring her subject’s writing of her own life across a number of her texts.
What happened: los idiomas de salsa
(2006) Katz, Marco
An examination of the bilingual history of salsa lyrics.
From Cuzco to California: José Watanabe and Naomi Quiñones in the Nikkei Diaspora
(2006) Katz, Marco
Naomi Quiñones does not necessarily identify as a Sansei Latina playwright and poet. From a variety of constructed identities, I have pasted these labels onto her: Sansei, Latina, playwright and poet. I might as easily and as accurately have chosen Hispanic, Andean, Peruvian, Colombian-born, Latin American, South American, Iberian-American, Japanese-American, American, Usonian, cross-cultural, borderlands, multi-lingual, Feminist, Californian performance artist. Any combination of these choices would alter my reading of and reporting on her work, thus creating from the outset a variety of stances from which I could legitimately locate her texts. By reducing Naomi Quiñones with the labels Sansei, Latina, playwright and poet, I plan to relate her verses and theatrical presentations to the work of one of her contemporaries, Nisei Latino screenwriter and poet José Watanabe Varas. The differences between Quiñones and Watanabe, which abound in spite of the similarities imposed by my choice of labels, demonstrate how each fits into a Peruvian literary tradition that extends backward at least as far as El Inca Garcilaso de la Vega and a tradition of political commentary that extends forward at least as far as tomorrow’s headlines concerning Alberto Fujimori and the current Peruvian elections.
Review of Luke Thurston, James Joyce and the problem of psychoanalysis
(2006) Monk, Craig
The central purpose of Luke Thurston’s study is to place emphasis on the new in Joyce scholarship, a field he understands as rife with repetition and redundancy. To this end, Thurston rejects both applying psychoanalytic ideas to Joyce’s works, treating them as patients, and examining the connection between psychoanalysis and the encyclopaedic reading that fed Joyce’s creative process.
Review of Milton A. Cohen, Hemingway’s laboratory: the Paris in our time
(2006) Monk, Craig
The slim chapbook published in Paris as in our time (1924) by William Bird’s Three Mountains Press represents for Milton Cohen an essential precursor to all of Ernest Hemingway’s subsequent works. While the volume’s eighteen vignettes, written over a period of seven months, gave the fledgling Hemingway something to contribute to a series of texts assembled and promoted by Ezra Pound, critical appreciations of that work have treated in our time as little more than undistinguished juvenilia. With extant volumes fetching as much as six figures at auction, the 170 copies of the work printed are of most interest today to rare book collectors, exceeding in renown even first editions of James Joyce’s Ulysses (1922) as desirable artifacts of Paris in the 1920s. Cohen hopes to move beyond a simple acknowledgment of the formal innovations in this unusual little text to argue that all elements of the mature Hemingway’s writings are, in fact, discernable in embryonic form on the pages of in our time. Indeed, the central trope of Hemingway’s Laboratory obliges readers to accept that the novelist sought to distance himself from his earliest writings through a great deal of willful experimentation. In examining Hemingway’s extensive trial and error through this period, however, Cohen also discovers a number of elements of his writing, consistent with a burgeoning modernism, that never found their way into his mature prose.
Che y Teddy: el desarrollo de imágenes populares en la pantalla grande
(2006) Katz, Marco
American and Cuban cinema is explored.
Review of Ronald Weber, News of Paris: American journalists in the City of Light between the wars
(2007) Monk, Craig
The startling revelation behind News of Paris is Ronald Weber's fervent belief that what he describes as the portrait of American life abroad in the 1920s and 1930s requires further study at all. But by examining the careers of American newspaper writers and editors in Paris, he succeeds in making a genuinely important contribution to our knowledge of expatriation between the World Wars.
Review of Brian Reed, Hart Crane: after his lights
(2007) Monk, Craig
As much a literary critic’s manifesto as a reading of 20th-century poetics, Hart Crane: After His Lights sets out to resurrect monographs devoted to single authors, a scholarly form that Brian Reed believes to have fallen out of favor over the past two decades. A more prevalent contemporary approach is to establish an apparatus through which the works of a number of writers are subsequently filtered, and Reed finds such an approach to scholarship critically impoverished and limited in its view of the achievement of individual artists. As researchers have abandoned many constituent queries about authors and their backgrounds, incomplete readings of creative achievement have barely been questioned. This development is particularly galling in the case of Hart Crane, who has come to be read as the representative gay American modernist male while being given single chapters in studies of queer poetics. After His Lights, however, does not seek to expand criticism of Crane simply by revisiting the work of the poet’s biographers; rather, Reed sets out to analyze the poet’s achievement from a number of different theoretical perspectives, sequentially. Careful never to appear dilettantish, the critic here chooses to question received knowledge in but a number of important areas, examining Crane’s credentials as a modernist poet, a queer poet, and an American poet, reexamining the foundation and durability of such labels.
“Easyfree translation?” How the modern West knows Sei Shônagon's Pillow Book
(2007) Henitiuk, Valerie
In the West, frequent references to thousand-year-old masterpieces such as the Tale of Genji and the Pillow Book suggest that although born in a particular national context, such works now possess a new life as international cultural artefacts. All too often, however, the globalization of Japanese literature reveals a quite astonishing persistence of Orientalist and otherwise reductive readings. This article examines Sei Shônagon's Pillow Book as an Eastern text that, from a Western perspective, acquires meaning only when articulated by the West, albeit in forms that would prove unrecognizable to its author or her contemporaries. Focusing on how they underpin or resist Orientalizing themes and attitudes, I consider the multiple and rapidly multiplying translations that it has inspired. The term “translation” is used in its broadest possible meaning to encapsulate a vast range of linguistic and cultural transfers along a continuum from literal to free, involving various forms of manipulation in the process of transforming this work into world literature.
Tiras, timbres y estereotipos: el negro Memín Pinguín y la manipulación de la cultura popular con representaciones étnicas
(2007) Katz, Marco
Memín Pinguín is the Black protagonist in a famous set of comics that first appeared in Mexico in 1945. However coincidental, the proximity of a speech by the Mexican President on 13 May 2005 and the appearance a fortnight later of five postage stamps commemorating Memín Pinguín suggests a connection between these two events. This study of the Memín Pinguín stamp controversy, connected to the presidential speech, explains how postage stamps function as a literary genre —a type of cuento corto, perhaps, among comic strips— and considers the ways in which these texts cross national, linguistic, and cultural borders, creating questions about ethnic images and who has the right to manage them.
Girl in the red dress TANGO
(2008) Gordey, Gordon; Ganert, Dave; Sato, Leo; Shoost, Andrij
Video performance excerpts from a 2008 live performance of Girl in the Red Dress TANGO. Created for the Ukrainian Shumka Dancers of Canada to an original music score by Andriy Shoost, Kyiv, Ukraine. Girl in the Red Dress TANGO features dancers Jayleen Gordey and Leo Sato with dancers from the Ukrainian Shumka Dancers of Canada.

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