Prejudicial Appearances: The Logic of American Antidiscrimination Law. By Robert C. Post, with K. Anthony Appiah, Judith Butler, Thomas C. Grey, and Riva B. Siegal. Durham, NC: Duke University Press, 2001. 184p. $54.95 cloth, $18.95 paper

2003 ◽  
Vol 1 (1) ◽  
pp. 157-246
Author(s):  
Evan Gerstmann
Author(s):  
Marcie Frank

Astonishingly prolific, literary theorist Jonathan Goldberg has published fourteen books, and edited or coedited five more. Goldberg took his PhD in 1968 from Columbia University with a dissertation on John Donne’s Devotions, supervised by Edward Tayler. Widely recognized as a meticulous scholar and a writer of dazzling and playful prose, Goldberg has published on all the major authors of the English Renaissance. His early work provided models of how to use the most significant paradigms of post-structuralist literary theory in the study of Renaissance literature. He helped to inaugurate queer Renaissance studies in the 1990s with Sodometries: Renaissance Texts, Modern Sexualities (1992) and Queering the Renaissance (1994). Along with Eve Kosofsky Sedgwick, Michael Moon, and Judith Butler, Goldberg played a vital role in disseminating queer theory as a scholar, a coeditor of Series Q at Duke University Press, and as a teacher. Goldberg’s thinking has always been centripetal and transversal. He has worked across numerous study areas, including Renaissance and contemporary, English and American, homo and hetero, gay and queer, men and women, and gay and lesbian. He traverses both geography and temporality, analyzing the discourses of sodomy in the Old and New Worlds, and bringing Shakespeare’s Tempest together with its reception in 20th-century Caribbean writing. He has written about Renaissance and 20th-century women writers alongside their male counterparts as well as on their own. He has worked across media, analyzing the paintings of Tintoretto, the opera of Beethoven, and the films of Hitchcock, Fassbinder, and Todd Haynes. He has upheld the same rigorous standards of scholarship in everything he has published. Goldberg has served the profession of literary studies beyond the boundaries of the early modern period, in no small part by calling them into question. In its coherence, his oeuvre marks out the territory upon which literary interpretation stakes its claims to intellectual value beyond period specialization and for the rest of the humanities. Now Distinguished Arts and Sciences Professor Emeritus at Emory University, previously Goldberg was Sir William Osler Professor of English at The Johns Hopkins University (1986–2006), where he also served as senior editor at ELH (2002–2006). He also taught at Duke University (1995–1998), Brown University (1985–1986), and Temple University (1968–1985). In addition to his own scholarship, Goldberg edited a posthumous collection of Eve Kosofsky Sedgwick’s writing, The Weather in Proust (2011), and coedited a collection of essays, This Distracted Globe: Worldmaking in Early Modern Literature (2016), and has edited Milton (1991).


2005 ◽  
Vol 1 (2) ◽  
pp. 141-180 ◽  
Author(s):  
Thomas Pfau

Thomas Pfau (Duke University) explores the radical transformation of the Bildungsroman - and of the image ( Bild ) as its narrative, speculative fuel - in ‘The Magic Mountain’. Contrasting Mann's narrative process with that of Goethe and Hegel, and drawing on the sociological writings of Georg Simmel and Arnold Gehlen, Pfau reads Mann's novel as decisively breaking with Romanticism's self-generating, organicist, and teleological conception of cultural narrative.


Author(s):  
J. F. Bernard

What’s so funny about melancholy? Iconic as Hamlet is, Shakespearean comedy showcases an extraordinary reliance on melancholy that ultimately reminds us of the porous demarcation between laughter and sorrow. This richly contextualized study of Shakespeare’s comic engagement with sadness contends that the playwright rethinks melancholy through comic theatre and, conversely, re-theorizes comedy through melancholy. In fashioning his own comic interpretation of the humour, Shakespeare distils an impressive array of philosophical discourses on the matter, from Aristotle to Robert Burton, and as a result, transforms the theoretical afterlife of both notions. The book suggests that the deceptively potent sorrow at the core of plays such as The Comedy of Errors, Twelfth Night, or The Winter’s Tale influences modern accounts of melancholia elaborated by Sigmund Freud, Judith Butler, and others. What’s so funny about melancholy in Shakespearean comedy? It might just be its reminder that, behind roaring laughter, one inevitably finds the subtle pangs of melancholy.


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