First Published in 2002. Amongst a time of rapid and radical social change, New Accents is a positive response to change, with each volume seeking to encourage rather than resist the process of change, to stretch rather than reinforce boundaries that currently define literature and its academic study. This study offers the authors’ theories of American literature and more specifically, his interest here is in how those theories define the canon of American literature and how those definitions influence our understanding and teaching of that canon.

First Published in 2002. Amongst a time of rapid and radical social change, New Accents is a positive response to change, with each volume seeking to encourage rather than resist the process of change, to stretch rather than reinforce boundaries that currently define literature and its academic study. This study offers the authors’ theories of American literature and more specifically, his interest here is in how those theories define the canon of American literature and how those definitions influence our understanding and teaching of that canon.

This study proposes that – rather than trying to discern the normative value of Afropolitanism as an identificatory concept, politics, ethics or aesthetics – Afropolitanism may be best approached as a distinct historical and cultural moment, that is, a certain historical constellation that allows us to glimpse the shifting and multiple silhouettes which Africa, as signifier, as real and imagined locus, embodies in the globalized, yet predominantly Western, cultural landscape of the 21st century. As such, Making Black History looks at contemporary fictions of the African or Black Diaspora that have been written and received in the moment of Afropolitanism. Discursively, this moment is very much part of a diasporic conversation that takes place in the US and is thus informed by various negotiations of blackness, race, class, and cultural identity. Yet rather than interpreting Afropolitan literatures (merely) as a rejection of racial solidarity, as some commentators have, they should be read as ambivalent responses to post-racial discourses dominating the first decade of the 21st century, particularly in the US, which oscillate between moments of intense hope and acute disappointment. Please read our interview with Dominique Haensell here: https://blog.degruyter.com/de-gruyters-10th-open-access-book-anniversary-dominique-haensell-and-her-winning-title-making-black-history/

This book examines how the intellectual developments of the Scottish Enlightenment undermined Scotland's sense of nationalism.

Introduction: the critical work and critical pleasure of American literature -- Inner-self industries: soft capitalism's reproductive logic -- How America works: getting personal to get personnel -- Dress-down conquest: Americanizing top-down as bottom-up -- Afterword: payoffs

"In recent years, the Marshall Plan has been invoked on numerous occasions as a solution for problems domestic and foreign. This study aims to establish the relevance for contemporary postwar reconstruction projects of an experimental foreign policy conceived and executed back in the late 1940s and early 1950s. The monograph clarifies why and how the Marshall Plan was adopted, what its essential features were, and why it succeeded in western Europe, concluding that it had important and mutually reinforcing aspects-- political, psychological, and economics"--Page vii.

History is not just a study of past events, but a product and an idea for the modernisation and consolidation of the nation. ‘The Use of History in Putin’s Russia’ examines how the past is perceived in contemporary Russia and analyses the ways in which the Russian state uses history to create a broad coalition of consensus and forge a new national identity. Central to issues of governance and national identity, the Russian state utilises history for the purpose of state-building and reviving Russia’s national consciousness in the twenty-first century. Assessing how history mediates the complex relationship between state and population, this book analyses the selection process of constructing and recycling a preferred historical narrative to create loyal, patriotic citizens, ultimately aiding its modernisation. Different historical spheres of Russian life are analysed in-depth including areas of culture, politics, education, and anniversaries. The past is not just a state matter, a socio-political issue linked to the modernisation process, containing many paradoxes. This book has wide-ranging appeal, not only for professors and students specialising in Russia and the former Soviet Space in the fields of History and Memory, International Relations, Educational Studies, and Intercultural Communication but also for policymakers and think-tanks.

This ambitious undertaking is designed to acquaint students, teachers, and researchers with reference sources in any branch of English studies, which Marcuse defines as "all those subjects and lines of critical and scholarly inquiry presently pursued by members of university departments of English language and literature.'' Within each of 24 major sections, Marcuse lists and annotates bibliographies, guides, reviews of research, encyclopedias, dictionaries, journals, and reference histories. The annotations and various indexes are models of clarity and usefulness, and cross references are liberally supplied where appropriate. Although cost-conscious librarians will probably consider the several other excellent literary bibliographies in print, such as James L. Harner's Literary Research Guide (Modern Language Assn. of America, 1989), larger academic libraries will want Marcuse's volume.-- Jack Bales, Mary Washington Coll. Lib., Fredericksburg, Va. -Library Journal.

From William Dickson's Rip Van Winkle films (1896) to Baz Luhrmann's big-budget production of The Great Gatsby (2013) and beyond, cinematic adaptations of American literature participate in a rich and fascinating history. Unlike previous studies of American literature and film, which emphasize particular authors like Edith Wharton and Nathaniel Hawthorne, particular texts like Moby-Dick, particular literary periods like the American Renaissance, or particular genres like the novel, this volume considers the multiple functions of filmed American literature as a cinematic genre in its own right-one that reflects the specific political and aesthetic priorities of different national and historical cinemas even as it plays a decisive role in defining American literature for a global audience.