Conclusion: From One Siren to Another

Author(s):  
Robert Boncardo

This concluding chapter first presents a reading of Quentin Meillassoux’s book The Number and the Siren, which aims to overcome the limitations of Rancière’s interpretation of Mallarmé by showing how the poet succeeded in creating a secular Eucharist. The chapter argues, however, that Meillassoux’s book has the unexpected consequence of showing the gap between Mallarmé’s poetry and its alleged political ambitions. It closes with a call for renewed thinking on the link between literature and politics.

Moments of royal succession, which punctuated the Stuart era (1603–1714), occasioned outpourings of literature. Writers, including most of the major figures of the seventeenth century from Jonson, Daniel, and Donne to Marvell, Dryden, and Behn, seized upon these occasions to mark the transition of power; to reflect upon the political structures and values of their nation; and to present themselves as authors worthy of patronage and recognition. This volume of essays explores this important category of early modern writing. It contends that succession literature warrants attention as a distinct category: appreciated by contemporaries, acknowledged by a number of scholars, but never investigated in a coherent and methodical manner, it helped to shape political reputations and values across the period. Benefiting from the unique database of such writing generated by the AHRC-funded Stuart Successions Project, the volume brings together a distinguished group of authors to address a subject which is of wide and growing interest to students both of history and of literature. It illuminates the relation between literature and politics in this pivotal century of English political and cultural history. Interdisciplinary in scope, the volume will be indispensable to scholars of early modern British literature and history as well as undergraduates and postgraduates in both fields.


1985 ◽  
Vol 46 ◽  
pp. 4-6
Author(s):  
William Hill ◽  
Dennis Lape

The lights dim. The students stir nervously, not sure of what to expect of the strobe light and the background music from "Thriller." The student course guide had recommended American Humor in Literature and Politics, but no one had been able to locate a living survivor to provide a personal testimony. Two middle-aged men of spacious girths enter the room and begin calling the roll. One looks like he might be a Democrat. The other one doesn't. As they alternate calling student names, crack terrible puns, and climb in and out of fright wigs and false noses, it begins to dawn on the class why no Ishmael has stepped forward to tell the story of American Humor.


2007 ◽  
Vol 35 (2) ◽  
pp. 697-709
Author(s):  
Jock Macleod

AS AN UNDERGRADUATE IN THE1970s, my introduction to the 1890s was perfunctory. Squeezed into a couple of weeks in the middle of a year-long course on “Victorian and Modern Literature,” the literature of the decade was reduced to aestheticism and decadence and presented as something of a preliminary to the real business of modernism. Such a focus reflected the scholarship of the time, in which thefin de sièclewas constructed as a moment of transition, one in which the political and socio-ethical dimensions so central to high Victorian literature were evacuated, as arguments for the autonomy of art came to dominate the literary cultural landscape. The organising principle was one of bifurcation: the separating out ofavant gardefrom bourgeois culture, the high from the low and, of particular relevance to this essay, literature from politics.


1972 ◽  
Vol 2 ◽  
pp. 304
Author(s):  
Sheila M. Smith ◽  
John Lucas

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