Remarks on the present state of parties,

Undated, unsigned manuscript on contemporary American politics, including observations on the reception of President James Monroe by citizens in different states during his tour of the country in 1817. Likely written by Tudor.

Paintings by Peter Bodnar from 1958-1977 : catalog for the exhibition held March 27 through April 24, 1977, Illinois State Museum, Springfield, Illinois.

Mode of access: Internet.

Hegemony, Institutionalism and US Foreign Policy: theory and practice in comparative historical perspective

This paper explores the theoretical and policy implications of contemporary American hegemony. A key argument is that the development of US hegemony generally, and the distinctive turn in US foreign policy that has occurred in the wake of 11 September in particular, can best be understood by placing recent events in a comparative and historical framework. The immediate post-World War II order laid the foundations of a highly institutionalised multilateral system that provided key benefits for a number of countries while simultaneously constraining and enhancing US power. An historical reading of US hegemony suggests that its recent unilateralism is undermining the foundations of its power and influence.

Sherman Alexie’s "The Toughest Indian in the World": Amalgamating the Oral and the Written Traditions

This article argues that The Toughest Indian in the World (2000) by Native-American author Sherman Alexie combines elements of his tribal (oral) tradition with others coming from the Western (literary) short-story form. Like other Native writers — such as Momaday, Silko or Vizenor — , Alexie is seen to bring into his short fiction characteristics of his people’s oral storytelling that make it much more dialogical and participatory. Among the author’s narrative techniques reminiscent of the oral tradition, aggregative repetitions of patterned thoughts and strategically-placed indeterminacies play a major role in encouraging his readers to engage in intellectual and emotional exchanges with the stories. Assisted by the ideas of theorists such as Ong (1988), Evers and Toelken (2001), and Teuton (2008), this article shows how Alexie’s short fiction is enriched and revitalized by the incorporation of oral elements. The essay also claims that new methods of analysis and assessment may be needed for this type of bicultural artistic forms. Despite the differences between the two modes of communication, Alexie succeeds in blending features and techniques from both traditions, thus creating a new hybrid short-story form that suitably conveys the trying experiences faced by his characters.

Colour in English: from metonymy to metaphor

Colour words abound with figurative meanings, expressing much more than visual signals. Some of these figurative properties are well known; in English, for example, black is associated with EVIL and blue with DEPRESSION. Colours themselves are also described in metaphorical terms using lexis from other domains of experience, such as when we talk of deep blue, drawing on the domain of spatial position. Both metaphor and colour are of central concern to semantic theory; moreover, colour is recognised as a highly productive metaphoric field. Despite this, comparatively few works have dealt with these topics in unison, and even those few have tended to focus on Basic Colour Terms (BCTs) rather than including non-BCTs. This thesis addresses the need for an integrated study of both BCTs and non-BCTs, and provides an overview of metaphor and metonymy within the semantic area of colour. Conducted as part of the Mapping Metaphor project, this research uses the unique data source of the Historical Thesaurus of English (HT) to identify areas of meaning that share vocabulary with colour and thus point to figurative uses. The lexicographic evidence is then compared to current language use, found in the British National Corpus (BNC) and the Corpus of Contemporary American (COCA), to test for currency and further developments or changes in meaning. First, terms for saturation, tone and brightness are discussed. This lexis often functions as hue modifiers and is found to transfer into COLOUR from areas such as LIFE, EMOTION, TRUTH and MORALITY. The evidence for cross-modal links between COLOUR with SOUND, TOUCH and DIMENSION is then presented. Each BCT is discussed in turn, along with a selection of non-BCTs, where it is revealed how frequently hue terms engage in figurative meanings. This includes the secondary BCTs, with the only exception being orange, and a number of non-BCTs. All of the evidence discussed confirms that figurative uses of colour originate through a process of metonymy, although these are often extended into metaphor.

NEXUS

The artwork in NEXUS is influenced by the South West Volcanic Plain, in particular the area known as the Stony Rises. The artwork responds to the histories and stories embedded in, and reflected by, the landscape. The artwork in this exhibition has layers of referential elements in order to signify the conjunction of occupation on the land and the nexus of relationships the land has sustained.

Loose Ends

Loose Ends is a collection of lyric and narrative poems that explores the multiple terrains of identity—individual, cultural, and historical. The poems embrace the essential incoherence of the self, resisting monolithic identity in favor of a multi-faceted, historically complex, imagistic rendering of the inner life. At its heart, the collection seeks to grapple with the gravitas of living: the continual assault of history and nature on human agency, the staggering context of the universe as a backdrop for communal and individual struggle. While single poems may only touch briefly or incompletely on these themes, the collection as a whole presents an admittedly inchoate picture of contemporary American identity.

The fact of metafiction in nineteenth-century children's literature : Nathaniel Hawthorne's A Wonder Book and Elizabeth Stoddard's Lolly Dinks's Doings

This article examines two American books for children: Nathaniel Hawthorne’s A Wonder Book for Girls and Boys (1851) and Elizabeth Stoddard’s Lolly Dinks’s Doings (1874). In both books, fairy tales or myths are framed by a contemporary American setting in which the stories is told. It is in these realistic frames with an adult storyteller and child listeners that metafictional features are found. The article shows that Hawthorne and Stoddard use a variety of metafictional elements. So, although metafiction has been regarded as a postmodernist development in children’s literature, there are in fact instances of metafiction in nineteenth-century American children’s literature.

Mixed Messages: American Correspondences in Visual and Verbal Practices

Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms.

Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.

Recollecting Work : Labour and Class in Contemporary North American Historical Fiction

Ma thèse examine quatre romans de l`époque post-1960 qui s’appuient sur le genre de la littérature prolétarienne du début du vingtième siècle. Se basant sur les recherches récentes sur la littérature de la classe ouvrière, je propose que Pynchon, Doctorow, Ondaatje et Sweatman mettent en lumière les thèmes souvent négligés de cette classe tout en restant esthétiquement progressiste et pertinents. Afin d’explorer les aspects politiques et formels de ces romans, j’utilise la « midfiction », le concept d’Allen Wilde. Ce concept vise les textes qui utilisent les techniques postmodernes et qui acceptent la primauté de la surface, mais qui néanmoins essaient d’être référentiels et d’établir des vérités. Le premier chapitre de ma thèse propose que les romans prolétariens contemporains que j’ai choisis utilisent des stratégies narratives généralement associées avec le postmodernisme, telles que la métafiction, l’ironie et une voix narrative « incohérente », afin de contester l’autorité des discours dominants, notamment les histoires officielles qui ont tendance à minimiser l’importance des mouvements ouvriers. Le deuxième chapitre examine comment les romanciers utilisent des stratégies mimétiques afin de réaliser un facteur de crédibilité qui permet de lier les récits aux des réalités historiques concrètes. Me référant à mon argument du premier chapitre, j’explique que ces romanciers utilisent la référentialité et les voix narratives « peu fiables » et « incohérentes », afin de politiser à nouveau la lutte des classes de la fin du dix-neuvième et des premières décennies du vingtième siècles et de remettre en cause un sens strict de l’histoire empirique. Se basant sur les théories évolutionnistes de la sympathie, le troisième chapitre propose que les représentations des personnages de la classe dirigeante riche illustrent que les structures sociales de l’époque suscitent un sentiment de droit et un manque de sympathie chez les élites qui les font adopter une attitude quasi-coloniale vis-à-vis de la classe ouvrière. Le quatrième chapitre aborde la façon dont les romans en considération négocient les relations entre les classes sociales, la subjectivité et l’espace. Cette section analyse comment, d’un côté, la représentation de l’espace montre que le pouvoir se manifeste au bénéfice de la classe dirigeante, et de l’autre, comment cet espace est récupéré par les ouvriers radicaux et militants afin d’avancer leurs intérêts. Le cinquième chapitre explore comment les romans néo-prolétariens subvertissent ironiquement les tropes du genre prolétarien précédent, ce qui exprimerait l’ambivalence politique et le cynisme généralisé de la fin du vingtième siècle.