"Jo Carson's first book of fiction which proves to be a deft storytelling with keen imagination and sense of humor. Carson's well-developed characters work within the context of family, friends and community as they cope with the raw edges of life itself. Jo Carson says survival 'is not always funny, and sometimes it hurts, but whatever so human an animal as we are has to do to stay whole is the stuff of it, and we laugh and laugh hard, or we come to pieces.'"--AMAZON / https://dc.etsu.edu/alumni_books/1016/thumbnail.jpg

Diss. Ph. D.--English--Uppsala university, 2000. / Bibliogr. p. 319-328. Index.

Thesis (Ph. D.)--University of Oklahoma, 1993. / Includes bibliographical references (leaves 82-92).

This is the study of a previously neglected genre in pre-modern Arabic literature: the (poetic) epigram anthology. The epigram anthology was pioneered by a handful of poets in 14th-century Syria, but the genre was soon taken up by anthologists across the pre-modern Middle East and soon became one of the most popular types of Arabic poetry up until the modern period. This study is divided into two parts. Part One deals with critical issues in literary history and comparative literature, while Part Two is made up of three encapsulated studies on specific aspects of the social and literary (structural and textual) composition of the texts. In Part One, the epistemological background of the terms epigram and anthology is surveyed and their suitability for application to pre-modern Arabic literature is evaluated. Part One also includes a comprehensive history of the maqāṭīʿ (sing. maqṭūʿ, also maqṭūʿah) genre in Arabic as well as a detailed explication of this style of poetry, its anthological context, its generic status in the Arabic literary tradition, and its relation to the wider world-literary category of epigram. The three chapters of Part Two are devoted to the social network of anthologists and poets, the structure and composition of the anthologies themselves, and the way in which anthologists used a technique, which is called ‘variation’ in this study, to link the cited poetic material into an organic whole respectively. NB: This is a literary-historical study informed by the discipline of comparative literature; it is not primarily a philolological, biographical, or codicological investigation. The literary material presented here is what has been deemed most relevant for the purposes of the larger generic discussion at the centre of this literary-historical study. An annotated bibliography of unpublished sources is provided in an appendix in order to help the reader navigate the tricky present status of many Mamluk and Ottoman era sources.

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Situating oral transcriptions in Aboriginal languages at the beginning of national anthologies creates the impression of a tradition that does not actually exist.

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This thesis analyses the poetry contained in anthologies published between the 1940s and 1980s in New Zealand and that of some later anthologies that retrospectively covered the same period. I wanted to find out what subject matter preoccupied poets during these times, to monitor changes in the content of that poetry and to observe what techniques were used and the evolution of styles. Complimentary to the study of the poetry is an evaluation of the intentions of the editors of the anthologies and how much their selections were directed by their tastes and knowledge to form a kind of 'construct', or representation of the publishing of poetry. From my reading, I conjectured that the literary canon with regard to poetry was formed in New Zealand by the mid-1970s, on the strength of publications from Penguin and Oxford University Press. The 1945 and 1960 anthologies by Allen Curnow were extremely influential - particularly the second of these two - and the editors of future anthologies from the larger publishers diverged comparatively little from his choices. Curnow's anthologies are the subject of Chapter One, and in Chapter Two, I look at Vincent O'Sullivan's series of three anthologies for Oxford (1970, 1976 and 1987), which confirmed and expanded that canon. However, from the mid-1960s, and especially in the early 1970s, new trends emerged in New Zealand writing, linked to a consciousness of post-modernist literary theory. Some of the new trends, together with material that supplemented existing perspectives on poetry, are discussed in Chapter Three. The greater degree of acknowledgement of writing by women poets - which began in the late 1960s in smaller literary journals - reached a point where the first anthology of women's poetry, Private Gardens, could be published in 1977. The first major anthology to be edited by a woman appeared five years later. The gradualness of these changes is stressed, however, with regard to women's poetry included in the larger anthologies themselves. A new bias emerged in the late 1970s and 1980s in favour of work from the University presses. Nevertheless, anthologies that presented some alternative point of view on our literary history proliferated at the beginning of the twenty-first century. Taken together, the anthologies Big Smoke and Real Fire form a more holistic picture of what went on in the 1960s and 1970s and are discussed in Chapter Four of this thesis. Concluding remarks focus on the prejudices that appear to have guided the publishing of poetry in New Zealand anthologies, the influence of major poets, and the possibilities for further study of this body of literature.

This dissertation examines how the new “multicultural phase” anthologies of American literature treat American history. Anthologies of American literature are more historical, more diverse, and more multidisciplinary than ever before, but they have over-extended themselves in both their historical and representational reach. They are not, despite their diversity and historicism, effective vehicles for promoting critical discussions of American history in the classroom. Chapter One outlines a brief history of anthologies of American literature, while also introducing the terminology and methodology used in this study. Chapter Two explores the role of the headnote as a vehicle for American history in anthologies by focusing on headnotes to Abraham Lincoln in multiple anthologies. Chapter Three examines how anthologies frame Native American origin stories for their readers. Chapter Four focuses on the issues raised by anthologizing texts originally composed in Spanish, and Chapter Five argues for a transnational broadening of the “slavery theme” in anthologies to include Barbary captivity narratives and texts that reference Indian slavery.

Cette thèse s’interroge sur les anthologies d’écrivain, un objet littéraire très intéressant, mais encore insuffisamment étudié à ce jour. Nous entreprenons dans un premier chapitre d’esquisser le champ théorique dans lequel se situe notre analyse en évoquant brièvement les théories du canon littéraire avant de nous tourner vers la notion de ‘musée’ qui guide notre interprétation dans la suite de ce travail. Notre corpus est constitué de six auteurs, trois de langue française (André Gide, Paul Éluard et André Breton) et trois de langue allemande (Hugo von Hofmannsthal, Rudolf Borchardt et Walter Benjamin). Dans la partie centrale de notre travail, nous analysons et interprétons les anthologies (de poésie et prose) que ces auteurs ont publiées dans des buts très différents. Nous observons que pour les auteurs de langue allemande, c’est la notion de ‘nation’ qui se trouve au centre de leur travail éditorial ; il s’y agit donc de l’effort, né d’un sentiment de crise et absence de cadre identitaire dans les années 1920/30, d’établir un sentiment d’appartenance à quelque chose qui unirait les Allemands. Du côté des Français nous observons aussi une impression de crise, cependant essentiellement différente, et une concentration sur le champ littéraire dans leur travail éditorial. À la fin, nous essayons de relier ces aspects à l’idée du musée de la littérature dans toute sa variété, telle qu’elle se présente dans nos anthologies. / In this thesis, we study an object which, despite the great interest it presents, only little attention has been paid: anthologies of authors. In our first chapter, we try to define the theoretical field which determines our reflections by outlining, in the first place, the most important aspects of literary theories concerning the canon and, in a second step, exploring the notion of ‘museum’ that will guide our reflections throughout our paper. Our corpus includes three French-speaking and three German-speaking authors (André Gide, Paul Éluard and André Breton on the French side, and Hugo von Hofmannsthal, Rudolf Borchardt and Walter Benjamin on the German/Austrian one). Analyzing and interpreting their collections of poetry and prose, assembled with very different objectives, constitutes the core of our study. We observe that for the German-speaking authors, it’s the concept of ‘nation’ that takes the most prominent place in their work; deriving from a sentiment of crisis in the 1920s and 30sand of the lack of an identity frame that could unite Germany. Whilst a great part of their editorial work consists in an effort to establish that idea of a common German identity, the French authors on the other hand, confronted with a substantially different consciousness of crisis, try to develop a more literary solution. At the end of our study, we try to unite the different aspects of our interpretation by refining the idea of a “museum of literature” as it presents itself in the texts analyzed.