This <i>Companion</i> presents the current state of criticism in the field of American fiction from the earliest declarations of nationhood to secession and civil war. <br><ul><br><li>Draws heavily on historical and cultural contexts in its consideration of American fiction </li><br><li>Relates the fiction of the period to conflicts about territory and sovereignty and to issues of gender, race, ethnicity and identity <br><li>Covers different forms of fiction, including children’s literature, sketches, polemical pieces, historical romances, Gothic novels and novels of exploration <br><li>Considers both canonical and lesser-known authors, including James Fennimore Cooper, Hannah Foster, Nathaniel Hawthorne, Herman Melville and Harriet Beecher Stowe <br><li>Treats neglected topics, such as the Western novel, science and the novel, and American fiction in languages other than English</li></ul>
When researchers in computer-mediated communications discuss digital textuality, they rarely venture beyond the now commonplace notion that computer textuality embodies contemporary post-structuralist theories. Written for students and faculty of contemporary literature and composition theories, this book is the first to move from general to specific considerations. Advancing from general considerations of how computers are changing literacy, Digital Fictions moves on to a specific consideration of how computers are altering one particular set of literature practices: reading and writing fiction. Suffused through the sensibility of a creative writer, this book includes an historical overview of writing stories on computers. In addition, Sloane conducts interviews with the makers of hypertext fictions (including Stuart Moulthrop, Michael Joyce, and Carolyn Guyer) and offers close reading of digital fictions. Making careful analyses of the meaning-making activities of both readers and writers of this emerging genre, this work is embedded in a perspective both feminist and semiotic. Digital Fictions explores and distinguishes among four distinct iterations of text-based digital fictions; text adventures, Carnegie Mellon University Oz Project, hypertext fictions, and MUDs. Ultimately, Sloane revises the rhetorical triangle and proposes a new rhetorical theory, one that attends to the materials, processes, and locations of stories told on-line.
This study contextualizes magical realism within current debates and theories of postcoloniality and examines the fiction of three of its West African pioneers: Syl Cheney-Coker of Sierra Leone, Ben Okri of Nigeria and Kojo Laing of Ghana. Brenda Cooper explores the distinct elements of the genre in a West African context, and in relation to:
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