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Queer Natures, Queer Mythologies collects in two parts the scholarly work—both published and unpublished—that Sam See had completed as of his death in 2013.In Part I, in a thorough reading of Darwin, See argues that nature is constantly and aimle
Forster’s 1914 novel Maurice offers an exemplary instance of modernist realism. The novel offers an experimental depiction of nature as the model for democratic socialism. This depiction of nature is founded on the principle of love, especially non
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https://doi.org/10.5422/fordham/9780823286980.003.0005
https://doi.org/10.5422/fordham/9780823286980.003.0005
Autor:
Sam See
This book collects the scholarly work that Sam See had completed as of his death in 2013. It includes essays that have been previously published in leading journals as well as materials that remained unpublished. Its parts represent the two book proj
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https://doi.org/10.5422/fordham/9780823286980.001.0001
https://doi.org/10.5422/fordham/9780823286980.001.0001
The concept of queer natures developed throughout the twentieth century developed into a communal myth. Nature served as a source of mythological belief in the materiality of sexual and aesthetic feeling for queers throughout the twentieth century an
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https://doi.org/10.5422/fordham/9780823286980.003.0007
https://doi.org/10.5422/fordham/9780823286980.003.0007
Hart Crane acknowledged the problem of creating a representative tale of the American tribe. Unlike other writers, however, Crane harnessed the long poem’s generic incapacity to universalize experience as his poem’s central structural and themati
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https://doi.org/10.5422/fordham/9780823286980.003.0010
https://doi.org/10.5422/fordham/9780823286980.003.0010
Transfer and Rises mimetically reproduce the effects of speed technology at the levels of narrative structure and texture to create literary space in a culture where technology depleted physical space, both literally and perceptually. These novels em
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https://doi.org/10.5422/fordham/9780823286980.003.0008
https://doi.org/10.5422/fordham/9780823286980.003.0008
The Young and Evil’s queerness undergirds its most consummately modernist ambitions: to renovate myth for modern purposes and to create folklore for a burgeoning ethnic community.
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https://doi.org/10.5422/fordham/9780823286980.003.0009
https://doi.org/10.5422/fordham/9780823286980.003.0009
Langston Hughes’s “Spectacles in Color” envisions Harlem culture as a drag performance. The Weary Blues records a lyric history of modernist Harlem in poems that perform in drag, an aesthetic of visual crossing. This aesthetic ironically coinci
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https://doi.org/10.5422/fordham/9780823286980.003.0006
https://doi.org/10.5422/fordham/9780823286980.003.0006
Woolf’s vision of concentration in Between the Acts enacts purification on the model of atavism, or the reversion of biological forms to prior stages of development, an idea popularized in the modernist period by Charles Darwin. Woolf creates a con
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https://doi.org/10.5422/fordham/9780823286980.003.0003
https://doi.org/10.5422/fordham/9780823286980.003.0003
Darwin conceptualizes nature as a non-normative, infinitely heterogeneous composite of mutating laws and principles. Contextualizing queer literature within a Darwinian framework presents opportunities to reassess contemporary literary histories of m
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https://doi.org/10.5422/fordham/9780823286980.003.0002
https://doi.org/10.5422/fordham/9780823286980.003.0002