Toward a Dialogics of International American Culture Studies: Transnationality, Border Discourses, and Public Culture(s)

2020 ◽  
pp. 461-485
MELUS ◽  
1976 ◽  
Vol 3 (4) ◽  
pp. 12-12
Author(s):  
R. Keenan

Prospects ◽  
1979 ◽  
Vol 4 ◽  
pp. 517-547 ◽  
Author(s):  
Gene Wise

Since the mid-1960s and the waning of the symbol-myth-image school, American culture studies has been adrift intellectually. It has first of all lacked a grounding center—at least of the culture if not always of the social structure—gave energy and direction to Americanist symbol-myth-image studies during their heyday in the decade and a half after 1950. Lacking such a consensus since then, American culture studies have also been uprooted from the holistic rhetoric of the interdisciplinary that gave impetus to teaching and scholarship in the movement during past years. We still hear exhortations to “see the culture whole,” or to “integrate all of American experience.” But such injunctions seem out of place now, when the culture itself appears not as all of a piece, but as divided—rent with strains and gaps which make it look like not a single thing but as several. American Studies has not faced up to the intellectual consequences of this change. A brief review of the past should indicate why.


Prospects ◽  
1991 ◽  
Vol 16 ◽  
pp. 1-40 ◽  
Author(s):  
Guenter H. Lenz

When henry nash smith defined American Studies in 1957 as “the study of American culture past and present, as a whole,” he summarized more than two decades of a wide-ranging and self-conscious critical analysis of culture in the United States and, at the same time, initiated the search for the unified or holistic “method” through which American Studies would, finally, achieve maturity as an (interdisciplinary) discipline. The 1930s were the decade when, as Warren Susman pointed out years ago, the complexity of American culture as well as the culture concept were discovered and discussed in the wider public. We think of the work of cultural anthropology, of the studies in cultural relativism by Margaret Mead or of patterns of culture by Ruth Benedict that emphasized the unity of cultures and often were written with a self-critical look at American culture in mind. What was, however, even more important was the fact that during the 1930s American culture manifested itself as a multiculture, as a culture that was characterized even more by variety, heterogeneity, tensions, and alternative traditions than by the strong drive toward national identity and consensus. Cultural anthropologists, critics, and (“documentary”) writers such as “native anthropologist” Zora Neale Hurston, Constance Rourke, or James Agee (with photographer Walker Evans, in Let Us Now Praise Famous Men) worked out radical new methods and strategies of cultural critique and ethnographic writing in the study of American cultures, in the plural. Thus, historian Caroline F. Ware, writing for the American Historical Association in The Cultural Approach to History, could argue in 1940 that the “total cultural approach” does by no means imply that American culture is something like an organic unity, but that “American culture” is exactly the multiplicity of regional, ethnic, and class cultures and the interactions of these cultures in terms of rhetoric as well as of power, not some “common patterns” or the Anglo-Saxon tradition the “other” groups have to “contribute” to.


Prospects ◽  
1983 ◽  
Vol 8 ◽  
pp. 1-10 ◽  
Author(s):  
Gene Wise

The symbol-myth-image generation of American Studies scholars went to school to giants, and in vital respects were giants themselves. They were tutored by the likes of F. O. Matthiessen, Perry Miller, Ralph Henry Gabriel, Samuel Eliot Morison, Arthur O. Lovejoy, Howard Mumford Jones, and they went on to create such classics in the field as Virgin Land; The Savages of America; Andrew Jackson: Symbol for an Age; The American Adam; The Jacksonian Persuasion; The Quest for Paradise; The Machine in the Garden.


Prospects ◽  
1982 ◽  
Vol 7 ◽  
pp. 141-161 ◽  
Author(s):  
Thomas J. Schlereth

“There's a Haynes-Cooper catalog in every farmer's kitchen,” remarks a Wisconsin woman inFanny Herself, Edna Ferber's 1917 novel depicting the Chicago mail-order industry. “The Bible's in the parlor, but they keep the H.C. book in the room where they live.” Harry Crews, in his 1978 autobiography of his boyhood in Bacon County, Georgia, recalls a similar centrality accorded the secular “Big Book” or “Farmer's Bible” in his family's tenant-farmer shanty. The highest form of entertainment for him was to thumb through the Sears, Roebuck catalog with his black friend Willalee and make up fantasies about the models on the book's pages. Writes Crews, “Without that catalog our childhood would have been radically different. The federal government ought to strike a medal for Sears, Roebuck Company for sending all those catalogs to farming families, for bringing all that color and all that mystery and all that beauty into the lives of country people.”


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